print October 2018

Peter Fischli

“Two different types of glue have been used: wallpaper glue and white wood glue. All sculptures and pedestals have been painted first with a mixture of indoor emulsion paint and champagne chalk. Additional layers of color were applied using acrylic, silicate paint, gouache, or enamel, and in this way a variety of surface effects, patinas, and sculptural looks have been achieved.” The resolutely deadpan style of the press release for Peter Fischli’s debut exhibition here (a version of the show was installed at the gallery’s sister location in Los Angeles earlier this year), with its steadfast

print September 2018

Andreas Slominski

High on the list of a novice art lover’s mistakes must surely be wandering into a Chelsea gallery and asking to use the bathroom. Unfortunately, the portable toilets installed by Andreas Slominski in his recent exhibition at Metro Pictures did not function in the conventional sense—unless some gutsy viewer decided to take a tip from Jackson Pollock, who, during the 1943 unveiling of his commissioned painting Mural, notoriously urinated in Peggy Guggenheim’s fireplace—so a full-bladdered visitor’s needs likely remained unresolved.

Slominski’s fourth exhibition at the gallery suggested a punchy

diary July 06, 2018

Breathe In

“STOP TALKING.”

“Stop talking.”

“No, really, stop talking.”

Unusually for an auctioneer—albeit a very part-time one—White Columns director and chief curator Matthew Higgs isn’t one to raise his voice. And his English wit is sufficiently dry that American ears often have difficulty in distinguishing a genuine word from an ironic one. So it took him a few attempts to convince the crowd at the nonprofit institution’s recent benefit auction that his characteristically affectless request was meant to be taken seriously. Eventually, however, things settled down and bidding on

print Summer 2018

Cyprien Gaillard

“I was born a lo-ser.” Whether indicative of a profound lack of self-esteem or of an unflinching fatalism, this wrenching declaration loops throughout the first three acts of Cyprien Gaillard’s 3-D film Nightlife, which made its American debut at Gladstone Gallery this spring. (It was first released in Europe in 2015.) Sampled from Alton Ellis’s 1969 rocksteady single “Blackman’s Word,” which itself sampled the line from Derrick Harriott’s 1967 track “The Loser,” the keening vocal is immersed in a fuzzy dub pulse that makes for a suitably hypnotic accompaniment to the film’s oneiric visuals. In

diary May 15, 2018

Bad Madeleines

IN ELEMENTARY SCHOOL (primary school to this Brit), when candy was currency, anyone who showed up with some new or unusual confection ruled the roost—at least until the prize was shared, stickily, among a dozen instant mates or wolfed down defensively by its owner. So it was particularly impressive when a classmate arrived one Monday morning with three never-before-seen treats. The brands were familiar, but the bars themselves were prototypes—experimental trial runs for yet-to-be-released products. To our sugar-addled minds, they were gold. The source of the bounty? A parent’s visit to a food

picks April 27, 2018

Anne Collier

Jerry: “What is this salty discharge?”

Elaine: “Oh my god, you’re crying.”

Jerry: “This is horrible. I care!”

Jerry Seinfeld’s puzzlement at his own tears in this snippet from his “show about nothing” offers a reminder that crying is still too often dismissed as a feminine weakness, a marker of emotional release that men are supposed to find embarrassing. In the midcentury romance comics that Anne Collier excerpts in her new photographic series, “Crying (Comic)” and “Tears (Comic)” (both 2018), we understand with very little context that the “salty discharge” depicted comes from the eye of a

diary April 13, 2018

The Mori the Merrier

I’M NOT JAPANESE, but I am from a country—England—where drinking tea is a daily given (“I’ll put the kettle on” follows “Hello” like night follows day). And having grown up in a household where teabags were considered infra dig (it was leaf Earl Grey or nothing), I possess a great deal of sympathy for the idea of turning a simple infusion into a ceremony. So while the closest I usually get to a ritualized procedure may be warming the pot, it makes complete sense to me that something possessed of such restorative power should be treated with veneration. It was with some satisfaction then that I

print February 2018

Adriana Lara

CARBON; FIRE; GAS; NOISE; SILENCE; PLASTIC; DIET COKE; DEBRIS; PRODUCT; ALLUMINUM [sic]; INFORMATION; COPY; MARKETING; TRASH; VOICES; BURPS; RECORDINGS; RADIO; CC; FORM-EXFORM; THEORIES; POST-PUNK-POST-PRODUCT; STRATEGIC UNPREDICTABILITY; BORDER-MEXICO-U.S. In the lead-up to her third solo exhibition at Greenspon, Mexico City-based Adriana Lara supplied this dizzying end-times vocab list to half a dozen writers as fuel for a series of original conspiracy theories, making the (suitably paranoid) results available in the gallery as simple printed handouts. As well as providing rich inspiration,

print November 2017

Cheyney Thompson

In the unforgiving hands of Cheyney Thompson, painting is subject to a deconstruction so thoroughgoing and severe that it might better be termed a disembowelment. Having broken the medium down into its constituent parts, Thompson doesn’t so much reassemble it as transport it into other realms entirely, to fields governed by systems and routines more often associated with such divergent realms as mathematics, economics, and manual labor. “Somewhere Some Pictures Sometimes,” the deliberately nebulous title of the artist’s seventh solo exhibition at this gallery, was consistent with the teasingly

print October 2017

Tim Youd

In Stanley Kubrick’s much-deconstructed ur-horror film The Shining (1980), conclusive evidence of protagonist Jack Torrance’s psychopathy appears tucked into the wayward winter caretaker’s typewriter. Upon finding it, his long-suffering wife, Wendy, begins to page through a stack of similar typewritten pages nearby. To her despair, she finds the sheaf of papers previously assumed to contain Torrance’s novel in progress to contain endless repetitions of the same self-mocking maxim: “All work and no play makes Jack a dull boy.” The phrase is typed in a variety of decorative configurations, as if

print September 2017

Ceal Floyer

Ceal Floyer shares with a handful of her contemporaries, such as Martin Creed and Gavin Turk—all three emerged in London during the early 1990s heyday of the YBAs—a wry post-Conceptualist mode that edges consciously ever closer to non-art, to simply merging with the fabric of everyday life. But while Creed has inherited the interest of the original Conceptualist tendency toward systems and ritual, and Turk the movement’s preoccupation with questions of authorship, Floyer leans in a more programmatically minimal direction. In her fourth appearance at this gallery, the artist continued

print Summer 2017

Evan Holloway

Still indelibly associated with Los Angeles, sculptor Evan Holloway broke through in the late 1990s by combining high-modernist form with subcultural and mundane imagery, manifesting a nimble strand of post-Pop that revealed the clear influence of his former teacher Charles Ray. But while Holloway’s artistic lineage is readily apparent, a certain lightness of touch continues to set him apart from his predecessors and extend his influence beyond the West Coast. Holloway is that rare artist who can address the state of the natural world without preaching, and the condition of the built environment

print May 2017

Vik Muniz

It’s no great challenge to name recent exhibitions in New York that have drawn their power from expert illusionism. One featuring Vija Celmins’s obsessive conjurings of the night sky and ocean surface, for example, coincided with another presenting Matt Johnson’s painted carved-wood simulacra of packaging materials and studio detritus. Our appetite for near-exact copies of extant objects and images—from the sublime to the banal—appears as powerful as ever. Vik Muniz is an artist for whom precise representation has long been important as both strategy and theme, specifically as a way

diary April 05, 2017

Play Ball

ANNE PASTERNAK’S FIRST COUPLE OF YEARS as director of the Brooklyn Museum have been interesting ones, though not always in the sense she might have preferred. A few short months into her tenure, the firebrand former head of Creative Time caught heat from protesters for renting out the space to the Sixth Annual Brooklyn Real Estate Summit. It was a decision they saw—with some justification—as incompatible with the institution’s commitment to local audiences in a quickly gentrifying neighborhood. Following intense negotiation, another event, the Brooklyn Community Forum on Anti-Gentrification and

print April 2017

“January Show”

Back in 2008, on what now seems like the cusp of a fleeting golden age, the gossip blog How’s My Dealing? boasted a section devoted to the casualties of for-profit cut-and-thrust. DeathWatch collated advance reports of the closing of various enterprises, and reading it now induces twinges of nostalgia for such outfits as Bellwether, Roebling Hall, and Rivington Arms, as well as for much-missed individuals such as the late, great Daniel Reich. As the depth of feeling attached to the list demonstrates, the role played by commercial galleries is far more than purely financial; their influence over

print March 2017

Matt Johnson

Matt Johnson operates in broadly the same arena as his onetime tutor Charles Ray, producing highly polished work that makes the everyday strange. For his second solo exhibition at this gallery, the New York–born, Los Angeles–based artist presented an array of painted carved-wood sculptures distinguished by a truly extraordinary degree of physical verisimilitude. Reaching rather strenuously for higher meaning, the press release describes without apparent self-consciousness the ways in which “these simple moments of dispossession become the generators of their own poiesis,” but somehow glosses

print February 2017

Jonathan Meese

Inspired by the singular if unfashionable vision of Franz Erhard Walther, under whom he studied at Hamburg’s Hochschule für Bildende Künste in the late 1990s, Jonathan Meese has developed a self-consciously grandiose vision of “total art” that continues to shape his output and its reception. This exhibition, “DR. TRANS-FORM-ERZ,” gathered seventy-odd drawings made by the German artist over the past twenty years or so, but only scratched the surface of his expansive and deliberately contrarian practice. A scattershot installation of works on paper in the gallery’s ground-level space was paired

print February 2017

Denzil Forrester

I have an enduring memory of an early-1990s set by legendary dub reggae DJ Jah Shaka at the North London club the Rocket that garnered the performer all the more respect for his stubborn reliance on a single turntable: no hyperactive cutting and scratching here. Shaka’s simple, unhurried approach signaled absolute confidence in a perfect selection of tracks, the effect of which was immediate and immersive. The aural space that dub establishes through the use of echo, reverb, and other effects—Claude Debussy’s oft-quoted line about music residing in the space between the notes is nowhere

print January 2017

Hugh Scott-Douglas

When British artist Rebecca Moss boarded the container ship Hanjin Geneva last summer to begin a “traveling” residency arranged by Access Gallery in Vancouver, she expected to arrive in Shanghai twenty-three days later. But after the craft’s operator, the Seoul-based Hanjin Shipping Company, went bust a mere week into the voyage, Moss ended up in Tokyo instead, the Geneva having been denied access to its intended port amid worries that docking fees would go unpaid. The artist made it onto dry land just a couple of days later than planned, but the crew members of numerous other Hanjin ships

print December 2016

Jaya Howey

Like many (I’d wager most) “professional” artists, Jaya Howey is also a teacher. But while the tendency among his contemporaries is to compartmentalize their paired roles out of an unstated concern that the prosaic realities of the latter will tarnish the mystic aura of the former, Howey used this exhibition to dissolve the barrier between them. Although the past ten years have seen the emergence of art-as-pedagogy as a fully fledged subgenre—think, to pick one historically aware example, of the Bruce High Quality Foundation’s riffs on Beuys’s chalkboards—it hasn’t consistently focused

Michael Wilson