Naomi Fry

  • Gone for Good, 2006.
    picks May 30, 2006

    Mamma Andersson

    In her first US solo show, the Swedish artist Mamma Andersson revises the memorable maxim that it is better to burn out than fade away, presenting paintings whose muted, low-key qualities enhance rather than undercut their intensity. Andersson's gorgeous, deliberately diluted depictions of awkwardly arranged household objects offer a version of a world that seems to resist attempts at representation. In Backbiter I, 2006, a cabinet of wonders–like arrangement of archetypically exotic items on a mantelpiece exemplifies as well as challenges the disciplinary project of still-life domestication,

  • Crystella 1, 2006.
    picks May 16, 2006

    Dirk Skreber

    In his second solo show at this gallery, the German artist Dirk Skreber presents six large-scale, tightly controlled, and lushly realized oil paintings, each portraying an enigmatic moment thick with arrested narrative. These nominally realist depictions of architectural structures and RV trailers work against their own particularizing thrust by employing a self-consciously detached viewpoint and exploring its abstracting effects. In Crystella 1, 2006, the bombed out husk of a trailer lies on a road, its burnt edges emphasized by dense strips of paint; in Crystella 2, 2006, another graphically