Nathaniel Lee

  • Joe Zucker, British Empire, 2012, watercolor, gypsum, plywood, 48 x 48”.
    picks April 08, 2013

    Joe Zucker

    Joe Zucker has an interesting way of melding subject matter and the objective qualities of materials in his paintings. After all, from 1975 to 1976, Zucker executed an intensive series about the ignominious history of US cotton production using his signature “painting” material—the cotton ball. His latest works on display, together titled “Empire Descending a Staircase” (all works 2012), offer connections between their physical attributes and their historical references, which are intertwined as tightly as ever.

    Zucker’s work has always bred a unique affinity with textile-based art, a product of

  • View of “Your Content Will Return Shortly,” 2013.
    picks March 11, 2013

    “Your Content Will Return Shortly”

    What has become of television, that ugly box that once sat in our living rooms, satiating our appetites for information and inanities with its one-way stream of content? This group show, including ten artists—Christopher DeLaurenti, Eric Gottesman, Jonathan Horowitz, Sophy Naess, Jeff Ostergren, Lucy Raven, Martha Rosler, Catherine Ross, Carmelle Safdie, Siebren Versteeg, and Emily Roz—asks us to reconsider the broadcast medium that was once almost entirely privatized and thoroughly centralized and yet pervades the American cultural landscape, a landscape now going through a period of

  • Philip von Zweck, Untitled (gray stripes), 2013, oil and acrylic on canvas, 24 x 24".
    picks March 04, 2013

    “How I Wrote Elastic Man”

    One of the more compelling aspects of “How I Wrote Elastic Man,” a group show featuring six artists—Anne Doran, Franklin Evans, Daniel Newman, Deb Sokolow, Philip von Zweck, and Ishmael Randall Weeks—is the way their works employ subterfuge as a means of enhancing their effects, whatever those may be. This is particularly clear in the two text-heavy drawings on view from Chicago-based Sokolow, which are excerpted from her narrative suite “Notes on Denver International Airport and the New World Order,” 2011. Here, she provides an account of a vast and shadowy global conspiracy that may or may

  • View of “A Still Life,” 2013.
    picks February 10, 2013

    Anna Plesset

    A summer residency in Giverny, France, sparked “A Still Life,” Anna Plesset’s New York solo debut, which includes a trove of drawings, painted objects, and paintings of objects. Much of this exhibition can be seen as investigation into the history of the studio she occupied during her time here, which belonged to one of Claude Monet’s somewhat forgotten protégés, American artist Lilla Cabot Perry.

    Plesset challenges viewers to uncover her two predecessors’ interconnected legacies through a gradual assessment of her works, with each shedding light on the otherwise cryptic significance of the

Keltie Ferris, Turn Turn Step Step, 
oil and acrylic on canvas, 
90 x 80”.
    picks December 27, 2012

    Keltie Ferris

    The most noticeable, and therefore notable, features of Keltie Ferris’s well-lavished paintings are their two most immediate strata: Ferris finishes off her large-scale abstractions with arrays of spray-painted dots and dashes and then returns with a brush loaded with a higher-intensity, contrasting color to lay down short, chunky strokes tightly packed in vertical, parallel arrangements around the previous layer. It is a winning combination that has made the artist something of a standout in a scene of young painters searching for novel ways to think about abstraction.

    Ferris is beginning to

  • View of “COPY + OWNERSHIP,” 2012.
    picks November 28, 2012

    Eberhard Havekost

    Those familiar with Eberhard Havekost’s previous output might deem the three large, colorful canvases near the entrance to his latest exhibition a radical departure from the photo-based paintings the German artist has been making for over a decade. Together the three canvases actually form two discrete pieces—Schöner Wohnen B12 (Better Living B12) and a diptych, Copy + Property B12 (all works 2012)—both inspired by test patterns once broadcast as calibration aids for television screens. These canvases also signal a circuitous return to Havekost’s long-standing preoccupation with the visible

  • Al Taylor, Untitled (Pea Passing Device), 1992, pencil, gouache, ink, and correction fluid on paper, 37 3/8 x 25 3/8".
    picks October 18, 2012

    Al Taylor

    The titles of the pieces in Al Taylor’s “Pass the Peas” series, 1991–92—like Pea Passing Device, or many that simply bear the name of the series in some augmented form—allude to a kineticism implied in the static objects and drawings themselves, now on display in David Zwirner’s third solo exhibition of the late artist’s work. The “peas” in question are both the small plastic rings, found under soda-bottle caps, which the artist placed along lengths of cable or hula hoops, and the small, wiry Os and daubs of ink in drawings created concomitantly with these objects, which served as

  • Guido van der Werve, Nummer veertien, home, 2012, HD video, color, 54 minutes 9 seconds.
    picks September 24, 2012

    Guido van der Werve

    Guido van der Werve’s latest film, Nummer veertien, home, 2012, opens with a somber text recounting the events surrounding composer Frédéric Chopin’s troubled life and untimely death. Taking the some 1,058 miles between Warsaw and Paris that now separate Chopin’s heart and body as his subject, van der Werve has composed a film-cum-requiem—made up of lush, HD video and the artist’s own dramatic musical compositions—which follows him on a one-man triathlon, with the artist swimming, cycling, and running the entire distance. The film takes a few detours as van der Werve introduces scenery

  • Ella Kruglyanskaya, Sketchy Man, 2012, oil and oil bar on linen, 82 x 60”.
    picks July 13, 2012

    Ella Kruglyanskaya

    The title of Ella Kruglyanskaya’s latest exhibition, “Woman! Painting! Woman!,” signals the artist’s unexpected affinity with the notorious sexploitation director Russ Meyer and his most recognized film Faster, Pussycat! Kill! Kill! (1965). Meyer is best-known for presenting an amped-up take on the female physique, and Kruglyanskaya does the same, except that her figures’ corporeal endowments are distributed more evenly throughout. Beyond that, both present a world where women reign: in Meyer’s case, through mental and physical dominance, and in Kruglyanskaya’s, through almost total predominance.