Nell McClister

  • “Ruffneck Constructivists”

    The wall of reeking bologna at the entrance sets the tone for guest curator Kara Walker’s exhibition “Ruffneck Constructivists,” on view through August 17: Simply confrontational at first glance, the show hugely rewards a long, thoughtful look. In her text for the exhibition Walker describes its eleven artists as “defiant shapers of environments . . . [who] build themselves into the world one assault at a time.” The title’s clashing references to “Ruffneck”—female rapper MC Lyte’s 1993 ode to the streetwise “dude with attitude”—and the revolutionary Russian avant-garde likewise suggest

  • Zoe Strauss

    The photographs in Zoe Strauss’s recent retrospective read like a photo-essay without the text. Her portrait subjects—glaring or shy, rail thin or obese, scarred or bleeding, partying or parading—are mostly from around Philadelphia. Her landscapes offer up empty parking lots, terse signage, insulting graffiti, and glimpses of the Gulf Coast region after Katrina and the BP–Deepwater Horizon spill. Other images are lyrical abstractions or sweeps of some allover pattern found in nature or in the city.

    At first glance, Strauss’s images seem to fall headlong into every trap that the history

  • Ann Agee

    Ann Agee has intricately painted the inside of a toilet, made ceramic dildos (one even doubles as a napkin ring), and slaughtered a chicken on video. In comparison to those works, her recent show, “Rules of the Pattern,” felt tame, but it exposed the heart of her provocative thirty-year practice. On opposite walls of the gallery, huge paintings on scrolls of mulberry paper unfurled to the floor, bracketing the solemn exhibition space with the illusion of a colorful, unpopulated kitchen and living room, part Maira Kalman, part van Gogh. On adjacent walls, blue-and-white porcelain serving dishes

  • picks July 21, 2010

    John J. O’Connor

    John O’Connor gets back to basics in his Philadelphia debut, confirming his commitment to the conceptual fundamentals of his project over and above the trademark hallucinatory style he has developed. For the past decade, the Brooklyn-based artist has been visualizing simple statistics in ever larger and more polished drawings, steadily carving a niche between ego-driven mark-making and straightforward recording of information. Characteristically, each of his new large-scale drawings originates with some curious preoccupation—the fluctuations of the Dow; the phases of hypnosis; an asteroid’s

  • Cai Guo-Qiang

    At sunset on December 11, 2009, before a freezing crowd and hundreds of commuters passing by, Cai Guo-Qiang ignited a fifty-foot-tall flower made from a gunpowder fuse that he had suspended on the Philadelphia Museum of Art’s columned facade. With a swarm of bright explosions, then a minute of sparklers streaming and smoking in the wind (while flames rose from tar paper protecting the sandstone steps, and men sprinted up with extinguishers), followed by a few deafening booms, Fallen Blossoms: Explosion Project, 2009, provided a moment of communal distraction—and a surprisingly poetic rumination

  • John Latham

    If you live in the United States, John Latham may be the most important artist whose work you’ve never seen. In the ’50s, he became the first Brit to put spray paint to canvas, an innovative response to American action painting and European Pop. He was prominent in the influential Destruction in Art Symposium in London in 1966. And it was Latham who, that same year, borrowed Clement Greenberg’s Art and Culture from the library at St. Martin’s School of Art and served it to a few delighted students for dinner. Returning the masticated pulp to the library got him fi red, but later earned him a place

  • Merlin James

    It has often been observed that Merlin James’s solo shows look like group shows, and this twenty-year survey proved the point, with a full range of painterly genres—seascape, landscape, portrait, erotic, interior, still life—on display, as well as variations in style ranging from dark impasto on misshapen, detritus-strewn canvases to smoother, Fauvish studies. James’s imagery is so calculatedly disparate as to deny not only the coherence lent by shared authorship but the very possibility of narrative. Indeed, his work, perhaps inadvertently, conveys more than a hint of the problematics of meaning

  • Stephen Bush

    Imagine a monastic hut from a Sung dynasty scroll transplanted onto a slab of molten lime bubble gum with a pea soup base, a riotous aurora borealis behind, and a magenta abyss in front. What was quiet and meditative becomes shrieking and ominous, the sublime depiction of majestic topography twisted into garish chemical goo. In the blackness beyond the hut’s open doorway might lurk a psychopath, a monster, a vengeful ghost—or only the darkest projections of one’s own unconscious.

    Stephen Bush’s new landscape paintings are a luridly unorthodox contribution to the genre, but they nonetheless share

  • Uta Barth

    In her latest body of work, Uta Barth has turned away from the peripheral spaces that she spent the last fifteen years photographing: a patch of sun scored by the shadow of a windowpane; the blurred corner of a room; a nondescript fragment of landscape viewed from inside. Here she surprises with deliberate, colorful foci: vases of flowers, each placed near a shaded window on a counter inscribed with the dark outline of a square. The images suggest domesticity yet feel coolly Minimalist, juxtaposing the organic and the geometric, the kitsch associations of still life and the pristine plainness

  • Michael Rakowitz

    Architectural modernism is often said to have breathed its last with the dynamiting of the Pruitt-Igoe housing project in Saint Louis. Constructed in the 1950s as a monument to shared space and racial integration, Minoru Yamasaki’s Corbusier-like vision of a utopian urban community deteriorated into a vast slum and was knocked down in 1972. This front-page event was attended by a transfixed mob (including many former Pruitt-Igoe residents) that reportedly let out a dull roar as the buildings fell—and it is this spectacle of collective catharsis, more than the simple fact of the buildings’ demise,

  • Jason Middlebrook

    Known for his half-solemn, half-whimsical approach to the human-wrought decline of the natural world, Jason Middlebrook is less an environmentalist than a critic of hubris. His site-specific installation at New York’s New Museum of Contemporary Art in 2001–2003, which consisted of miniaturized layers of rock, soil, and plants, and his recent show at Margo Leavin Gallery in Los Angeles, which featured paintings of a postapocalyptic animal uprising, attested to the artist’s misgivings about the advances of human society at the expense of nature. In his latest exhibition, “The Provider,” Middlebrook

  • Marc Quinn

    Marc Quinn is still best known for his deliciously sick “Sensation”-era shock piece Self, 1991, a cast of his head in his own deep-frozen blood. In a suite of recent bronze sculptures exhibited at Mary Boone Gallery—a selection from a series first seen at Dublin’s Irish Museum of Modern Art last summer—Quinn has fine-tuned the balance of pathos and revulsion to which his career has thus far been dedicated.

    Viewers in New York were greeted by Seated Figure (Bull), 2004. Raised on a white plinth and rearing to a height of almost six feet, attenuated limbs spread to expose the yawning void where

  • Sean Dack

    Snatching stills from anonymous weblogs and surveillance feeds, projecting them onto large sheets of photo paper, and developing the results using standard color photography techniques, Sean Dack creates lush, mysterious glimpses of a twenty-first-century collective unconscious. At once intimate and impersonal, prosaic and fantastic, blogs explode the dialectics of the photograph, presenting fleeting moments not as fixed in the past but as constantly “refreshed” and endlessly negated. The particular sources of the footage that Dack mines here are never revealed and are, indeed, irrelevant to

  • Darrel Morris

    Darrel Morris’s highly original, painstakingly worked swatches of cloth and embroidery constitute an absorbing investigation into memory and confrontation. In dreamlike scenes and funny/sad vignettes from his childhood and his short-lived career as a draftsman, the pieces on view in Morris’s New York solo debut revolve around moments of disappointment, hurt, shame, and anger. Most deal with a father’s frustration toward his son. In the rueful Good Paper, 2001, for example, the father stands gesturing angrily over his little boy, who sits on the floor drawing on a sheet of notebook paper. A speech

  • Petah Coyne

    Returning to the SculptureCenter, host of her breakthrough debut in 1987, the queen of mixed media brings nearly two decades of prolific creation full circle. With fourteen large-scale sculptures and eight dreamlike black-and-white photographs on view, this nineteen-year survey promises the quintessential Coyne experience.

    Returning to the SculptureCenter, host of her breakthrough debut in 1987, the queen of mixed media brings nearly two decades of prolific creation full circle. Laboriously constructed from hair, wax, chicken wire, silk, hay, tar, ribbon, and myriad other materials, her trademark hanging, spreading, or climbing tangles, lumps, and clumps—simultaneously repulsive and gorgeous—stage encounters with delicacy and ponderousness, purity and dreck. With fourteen large-scale sculptures and eight dreamlike black-and-white photographs on view, this nineteen-year survey

  • Alessandra Sanguinetti

    Photographs of children tend to evoke a knee-jerk wistfulness. As evidence of a moment that has always already passed, a photograph is perfectly suited to capture the fleeting presence of a child, in the process transforming the unsuspecting subject into a bittersweet symbol of soon-to-be-lost innocence. Thankfully, however, the visitor to Alessandra Sanguinetti’s recent US solo debut will find this phenomenon overshadowed by more nuanced considerations.

    Selections from Sanguinetti’s five-year project of documenting the adventures of two young Argentinian cousins, these photographs attest to

  • Paul Etienne Lincoln

    Looking at Paul Etienne Lincoln’s outlandish gadgets, one gets the impression of the artist as gentleman tinkerer: Think of his Equestrian Opulator ©, 1990–2000, a standing aluminum telescope that can peel an orange and set off flares while affording a relaxed viewing of horse races. His less whimsical projects, however, point not to an amusingly anachronistic wizard but to a forward-thinking intellect busy salvaging history from myth.

    This crowded twenty-year survey of Lincoln’s editions and performance projects included models and relics alongside slick booklets and boxed sheaves providing

  • Jem Southam

    The simple yet compelling concept behind this quiet show of several series of photographs matched a sense of modesty in the images themselves. Bristol-born photographer Jem Southam visits rural sites, mainly in the south of England, several times over the course of months or years and shoots large-format images from about the same spot to document the natural and man-made changes that have taken place. In “Rivermouths,” 1996–2000, a coastline erodes; in “Rockfalls,” 1994–2000, a cliff face crumbles; and in “Ponds,” 1996–2000, a dew pond fills out. The subdued, rather traditionally composed

  • Thomas Kiesewetter

    Blech: In English, an expression of disgust; in German, a term for high-gauge sheet metal. On view recently in his first solo show in the United States, Thomas Kiesewetter’s untitled blech sculptures are all the more appealing for the baseness of their material. Formed from what look like found fragments of discarded machinery—chutes, tubes, quadrilateral panels—they come across as both high-rise urban and barnyard rural. Each is painted carelessly in a single color: dirty white, faded lavender, safety orange. Attached to rude wooden plinths, these screwed-together constructions are at once

  • Mark Lombardi

    Mark Lombardi (1951–2000) set out to arm people with information so they might form nuanced political opinions. Having early on discovered a hunger to lay out in exhaustive detail the dismaying network of connections among corporations, governments, and financial institutions, the Texas-born artist developed an idiosyncratic means of mapping the gist of his research with gracefully interconnected curves and circles in pencil on paper. In several drawings from the series World Finance Corporation, Miami, ca. 1970–84, 1994–99, mutual interest is traced in graphite among the WFC, Colombian drug