Michelle Grabner

  • Louise Fishman, Untitled, 2011, acrylic on metal, 8 1/2 × 7 1/4 × 1 1/4".

    “Louise Fishman: Paper Louise Tiny Fishman Rock”

    In tandem with an independently organized retrospective at the Neuberger Museum of Art, Purchase College, State University of New York, this hometown survey of Fishman’s fifty-year-long career features the painter’s esteemed large-scale gestural abstractions alongside a selection of intimate studio investigations—an assortment of miniature paintings, sketchbooks, and small sculptures—that share the same physicality and unapologetic emotional punch as her bigger, iconic works. The exhibition’s hinge is Self-Portrait, Fishman’s 1960 self-portrait as a boxer,

  • Paul McCarthy, White Snow Placemat, 2014, pencil on paper place mat, 9 1/2 × 14". From the six-part suite White Snow Placemat Drawing, WS, 2013–14.

    Paul McCarthy

    White Snow Placemat Drawings, WS, 2013–14, a set of six scallop-edged paper place mats, each depicting an assortment of quickly drawn, naked, dripping, hairy figures engaged in various acts of dominance or submission, set the tone for this simultaneously abject and exuberant show. The coffee and grease stains absorbed into the paper fibers of the place mats evoke bodily fluids discharged by the penciled figures inhabiting the indeterminate pictorial spaces that crowd the savaged found supports. These works were among the fifty-seven included in what was—somewhat unbelievably—Paul

  • Joseph Yoakum, Paradice Range near Damascus Syria South East Asia, 1969, pen and colored pencil on paper, 12 × 19".

    Joseph Yoakum

    The fabulist and inveterate drifter Joseph Yoakum was known to claim that he had traveled the world as a circus man, a soldier, and a train porter during the first six or so decades of his life. In 1962, at the age of seventy-one, he took up drawing and began working out of a storefront gallery on Chicago’s South Side, quickly becoming the self-taught paragon of the city’s art community. Yoakum’s visionary landscapes had an especially profound impact on the developing visual styles of the Chicago Imagists, who were rising to international prominence in the late ’60s (and who made him an honorary

  • Erika Rothenberg, House of Cards (detail), 1992/2015, two of ninety greeting cards (gouache) from a mixed-media installation, dimensions variable.

    Erika Rothenberg

    Since 1991, Erika Rothenberg has employed the form and generic sentimentality of the greeting card as a means of examining a vast range of social ills and political injustices. Rothenberg’s cards, executed simply in gouache and watercolor, evidence the artist’s active imagination and keen facility for satire, tackling themes (per the plaques that served to organize this exhibition) of “religion,” “crime,” “arts and culture,” “sexual abuse,” “abortion,” “civil rights,” “health,” and “education”—in sharp contrast to the congratulations and well wishes one might expect. The resulting compositions

  • View of “Michael Kaysen,” 2015.

    Michael Kaysen

    The exuberant pre-crash 2007 exhibition “Makers and Modelers: Works in Ceramics,” in which sixty-four ceramic objects by thirty-one artists crowded Chelsea’s Gladstone Gallery, was a watershed moment for the medium. Today, it’s difficult to remember a time when ceramics was largely relegated to the world of craft, where its forms were attentively cultivated, assessed, and distributed. Or an art world without Sterling Ruby’s basins or Jessica Jackson Hutchins’s slovenly ceramic and furniture sculptures. Michael Kaysen’s exhibition of twenty-one vessels, each titled Bottle and collectively dating

  • “Arlene Shechet: All at Once”

    For more than twenty years, Arlene Shechet has rigorously worked at the material limits of plaster, paper pulp, and glass. In the past ten, she has also—and with increasing concentration—explored the possibilities of clay. Her experimental work in ceramics demonstrates a fierce aptitude for uninhibited, even overelaborate, sculptural form. Artists such as Jessica Jackson Hutchins and William O’Brien are indebted to Shechet’s ongoing interrogations of brash color, texture, and mischievous display tactics, including mash-ups of functional objects with idiosyncratic

  • Walter Robinson, Bidlo, 1984, acrylic on canvas, 30 × 30".

    Walter Robinson

    As Walter Robinson’s paintings have evolved, they’ve come to serve as an uncannily accurate gauge for the American art world’s analogously shifting, and increasingly nuanced, attitudes toward consumerism and mass culture. The artist’s early-1980s works—straightforward depictions of drugstore purchases, Budweiser beer cans, a plastic My Little Pony figurine, and Robinson’s personal friends, the artists Martin Wong and Mike Bidlo and critic Carlo McCormick—feature banal subjects facilely scumbled in acrylic paint and initially registered as an ironic wink to the viewer. The portraits

  • Fiona Clark, Jenny and Me she doesn't mind that I'm HIV, 1988, annotated cibachrome photograph from a suite of four albums, each 24 x 26”.
    picks February 12, 2015

    “Implicated and Immune”

    In 1981, the New York Times ran a story with the headline “Rare Cancer Seen in 41 Homosexuals.” Over ten years later—the year that drug-therapy “cocktails” became an effective treatment in slowing down the disease—the first exhibition to respond to the epidemic in Auckland, “Implicated and Immune: Artists’ Responses to AIDS,” opened in 1992 at the Fisher Gallery. That milestone featured work from artists including Jack Body, Fiona Clark, L. Budd, and Fiona Pardington. Carrying forward the discourses that have shaped the social and cultural impact of HIV/AIDS in New Zealand, this reprise of that

  • Lucie Stahl, Shroom Cloud Hands (Purple), 2014, polyurethane, acrylic, 10 1/2 × 6 × 3 1/2".

    Lucie Stahl

    Lucie Stahl’s exhibition at the venerated apartment gallery Queer Thoughts in Chicago’s Pilsen neighborhood was a fitting last project before the gallery relocates to downtown Manhattan. Known for featuring work that embraces the shape-shifting properties associated with the concept of “postidentity,” Queer Thoughts reaffirmed its agenda with a corporeally charged installation punctuated by several cast-polyurethane molds of hands and faces and three of Stahl’s characteristic polymer-coated ink-jet prints of body parts submerged in gel. Stahl ferreted into the private domain of the third-floor

  • View of “Mickalene Thomas,” 2014–15.

    Mickalene Thomas

    On the heels of Mickalene Thomas’s widely screened HBO documentary Happy Birthday to a Beautiful Woman (2012) comes “I was born to do great things,” yet another heartfelt exhibition dedicated to Sandra Bush, Thomas’s late mother and longtime muse. In a departure from her 2012–13 show at Lehmann Maupin in New York, for which the artist projected the film in a side gallery removed from the “room within a gallery” installation that has become a recurring feature of her practice, here Thomas embeds the (now looped) film within a similarly immersive 1970s-era domestic simulacrum. In the present

  • Maddie Reyna, Fantasie, 2014, ink-jet print, 36 × 24".

    Maddie Reyna

    Maddie Reyna is emerging as a dutiful acolyte of the British Conceptual artist Stephen Willats. “Jamaica Sweethearts,” Reyna’s recent pop-up installation at Julius Caesar, a prominent Chicago artist-run project space, examined art’s social agency in an apparent endeavor to demonstrate Willats’s cool polemics. Indeed, the show could have been pulled from the pages of Artwork as Social Model, Willats’s 2012 manual for artists “looking to find a meaningful relationship with contemporary society, and intervening to transform norms and conventions, to provide a new vision of a possible future.” Reyna

  • Jean Stamsta, Orange Twist, ca. 1970, wool, synthetic yarn, wood, 43 × 103 × 43". From “Fiber: Sculpture 1960–Present.” © Estate of Jean Stamsta.

    “Fiber: Sculpture 1960–Present”

    In 1986, Mildred Constantine, Neda Al-Hilali, and Mary Jane Jacob organized an exhaustive traveling exhibition titled “Fiber R/Evolution.” It included such luminaries in the field of fibers as Sheila Hicks, Anne Wilson, and Claire Zeisler, and it unapologetically reinforced craft’s relationship to gender and women’s work. Nearly thirty years later, “Fiber”features many of the artists represented in the breakout ’86 show (including Hicks, Wilson, and Zeisler) but expands its purview to include a broad range of generations, nationalities, and conceptual approaches, as