Nell McClister

  • 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

  • John Pilson

    Times have changed since John Pilson’s last New York exhibition, which had been open a week when the attacks on World Trade Center gave his photographs and videos—shot in the North Tower, where he’d had a studio—an unasked-for mythic quality. In work in that show and elsewhere, Pilson had cast the towers as the ultimate foil for his dadaist scenes of businessmen singing, balls bouncing in stairwells, and children playing in deserted offices. But now that the towers are gone, and with them, perhaps, our ability to see much humor in their negative portrayal, the artist’s subversion of

  • Pam Lins

    At first glance, Pam Lins’s plywood sculptures look like exercises in medium-scale art-school carpentry, but soon they click into familiarity, like fragments of a recurring dream, then slowly relax into intriguing, elusive, odd yet plain forms that appear simultaneously fragmented and perfectly self-contained. The main space of the artist’s recent show contained five wall-mounted works (all 2003), each comprising curved, boxy constructions, irregular flat shapes, and a representational element, in most cases a small painting on a scrap of paper or canvas. Worn Down Grass, a long, low console

  • Stan Douglas

    Stan Douglas’s latest work, the video installation Suspiria, 2002/2003, is as visually weird and conceptually sophisticated as anything he has ever produced. Titled after Dario Argento’s classic horror film of 1977, the piece was created for Documenta 11 and made its debut there last summer. In Kassel, live surveillance footage of the empty, dungeonlike labyrinth beneath the Herkules monument (one of many follies in the area) was projected in the Fridericianum across town. Scenes from the Grimms’ fairy tales, acted out by a contemporary-looking cast in the grotesque, translucent palette of a

  • Claudia and Julia Müller

    In their first New York show, Swiss sisters Claudia and Julia Müller presented three series of ink drawings, an animated video, and two unassuming sculptures (all works 2002) that focus on the complex negotiation of the individual with the constructs that simultaneously facilitate and inhibit self-realization: culture and, more intimately, family. To make the drawings, the Müllers projected images clipped from magazines and newspapers onto paper and traced them in a faux-naive style, isolating the figures in their camera-induced attitudes: shyness, bravado, calculated modesty. Two series here

  • John Maeda

    What does it mean for a digital artwork to be medium-specific? The answer usually involves interactivity, a variously controlled and predictable behavior and response onscreen. But new-media theorists have shown that interactivity is largely a mirage, a mediated reflection of the programmer’s choices and hence not much more radical than the kind of engagement famously identified by Ernst Gombrich in 1959 as the requisite fill-in-the-blank response to illusionistic painting.

    With his recent exhibition of twenty-eight color digital photographs (all 2002), some sandwiched between panels of Plexiglas,

  • Thomas Scheibitz

    For visitors pining for another encounter with Thomas Scheibitz’s exuberant, chalky pastel canvases, this show must have been disappointing. In place of the wide, quasiabstract suburban landscapes and quirky still lifes that hung here in two previous exhibitions were a few framed works on paper, one tiny painting, and a roomful of odd sculptures arranged on an ad hoc platform. Whereas Scheibitz’s paintings reliably offer thrilling hues, jostling forms, and tensed, matte surfaces, these new sculptures looked uneven, almost unfinished. Pale beneath the gallery’s large skylight, they seemed shy

  • Leah Gilliam

    The Pathfinder mission to Mars five years ago produced only some soil samples and a week’s worth of grainy stills showing a broad red desert that looked like the inner reaches of Nevada. Yet NASA’s scientists, eager to establish the history of Mars’s formation and the potential for further exploration there, were thrilled. And the rest of the world fell in love, crowding around TV screens and jamming Web pages in record numbers to ogle the planet’s never before seen contours as recorded by the vessel’s little roving camera, Sojourner.

    It is this moment of fascination and longing that Leah Gilliam