Nicholas Chittenden Morgan

  • View of “Karl Salzmann,” 2017.
    picks August 18, 2017

    Karl Salzmann

    “I’ve been looking for freedom, I've been looking so long,” croons David Hasselhoff in his 1989 single “Looking for Freedom,” which the actor once sang before the Berlin Wall. Decades later, the Baywatch star’s desire for a happy world and personal autonomy remains unsatisfied, lending the cheesily infectious ballad some pathos. A few lines of the chorus are played on a short, booming loop as a part of Karl Salzmann’s exhibition here. The loop inevitably recalls the weaponization of pop at Guantanamo Bay, where music—especially anthems interpreted as jingoistic, like Bruce Springsteen’s hooky

  • Pooh Kaye, Climb, 1976, digital transfer from Super 8, color, silent, 1 minute 11 seconds.
    picks June 02, 2017

    Pooh Kaye

    Sometimes you just want to shimmy up a pole. Jump on a bed. Fold yourself into a small space. Writhe naked atop a table. Or bury yourself. Don’t you?

    In the private performances she staged for the camera from 1975 to 1980, Pooh Kaye did all of the above. The five digitized Super 8 films gathered for this exhibition, curated by Josephine Graf, are documents of post-Judson dance (for several years, the artist worked with seminal choreographer Simone Forti) and contributions to experimental cinema. A jumpy frame rate renders them almost like stop-motion animation—Kaye’s moving body, the clay—or

  • View of “Daniele Milvio,” 2017.
    picks May 05, 2017

    Daniele Milvio

    Daniele Milvio’s recent works feel like an unholy amalgamation of Cy Twombly’s beautifully loopy imagery and Anselme Bellegarrigue’s Anarchist Manifesto (1850). A number of Milvio’s smaller pieces, dark and ethereal things, are covered with swirling, barely legible script on linden wood supports. A snippet of text in Mastro Titta (all works cited, 2017)—the nickname for Giovanni Battista Bugatti, the Papal States’ head executioner from 1796 to 1865—reveals that they are menus for a spezzatino, or stew, of neoliberals, among other sorts of folk. Nearby, two larger paintings (Teresa! Senti Quanto

  • Bryson Rand, Paul (Brooklyn), 2015, archival pigment print, 40 x 28".
    picks April 28, 2017

    Bryson Rand

    The history of twentieth-century straight photography is sprinkled with the work of queer makers—think of Herbert List, or Peter Hujar. But if the tradition has grown to look a bit staid by its black-and-white aesthetics and formal idealism, an undercurrent of transgression, Bryson Rand suggests, can revitalize it. The artist expands upon this notion in his current exhibition, which consists of images ranging from a portrait of a handsome, wounded man (Vincent [Brooklyn], 2016) to a semiabstracted shot of dead flowers in front of his husband’s parents’ house (Untitled [Rumson, NJ], 2016).


  • Aidan Koch, Perch, 2017, wood, leather, string, hardware, 6 x 18 x 41".
    picks March 28, 2017

    Aidan Koch

    In Helen Macdonald’s 2014 memoir H Is for Hawk, the author recounts a period of mourning punctuated by her training of a predatory bird, describing how their new bond tempers her grief. The relationship with this hawk, though, is underpinned by violence as much as affection, and frustration more than familiarity. Such an unsentimental attitude toward animal-human interactions characterizes the drawings and objects by Aidan Koch gathered here, which range from small ceramic sculptures of cats and monkeys to drawings of women arranging their bodies into the shapes of letters. An installation neatly

  • View of “Henry Chapman: Phthalo Blue Red Shade,” 2017.
    picks February 24, 2017

    Henry Chapman

    Henry Chapman’s carefully gessoed canvases, smooth as polished stone, are adorned with pigments that bleed, à la Helen Frankenthaler, into their white grounds. Between his spare, painterly passages, which range from assiduously prim to flagrantly scatological, Chapman adds screen-printed texts: Some are taken from a European travelogue; others rehash moments from the artist’s daily life or are just made up. If Enlightenment gentlemen traveled the Continent for enlightenment (think Goethe in Italy), Chapman’s wanderings through some of the same terrain—Berlin, Rome—are pure indulgence, pleasure:

  • Lenore Malen, The Reason of the Strongest Is Always the Best, 2016, video, color, sound, 4 minutes 30 seconds.
    picks January 23, 2017

    Lenore Malen

    Lenore Malen’s current exhibition, “Scenes from Paradise,” is an eco-Gesamtkunstwerk, connecting our environmental crisis with the Bible’s declaration that man should have dominion over all nature. Countering this destructive injunction, the artist creates videos, photographs, and objects to present a vision of interspecies communion. In one video, Reversal (all works 2016), a woman with rein-like ropes dangling over her face addresses the camera with utter conviction. She speaks of humanity’s rule over the earth as barbaric: “It is a challenge using your language, but the real challenge for me

  • Mark Prent, His Final Statement, 1970, mixed media, resin, fiberglass, 24 x 24 x 12".
    picks December 02, 2016

    “Zombie Formalism, 1970–2016”

    “Zombie Formalism, 1970–2016” is a group exhibition that switches out Clement Greenberg for Roger Corman and skewers the work of all those (mostly) hot young dudes of recent vintage who’ve made process-based abstraction so insufferable. Mark Prent’s morbidly hilarious sculptures of desiccated, flesh-hungry creatures, His Final Statement and Five Stuffed Crows (both 1970), reimagine aesthetics as a horror show and artistic production as brain-eating. They also broaden the much-maligned term under which these pieces are being shown, helpfully putrefying notions of fashion and market cool.

    Nods to

  • View of “Whitney Claflin: Have You Ever Met a Mime So Real?,” 2016.
    picks November 17, 2016

    Whitney Claflin

    Whitney Claflin’s storefront feels more like an eye exam than a department-store display. Where artists such as Andy Warhol interwove art and commerce by putting their paintings in shop windows, Claflin renders the small, collaged objects she places behind glass almost inscrutable. Instead of jettisoning spectacle, though, she suggests it with bright lights that turn the window into a luminous frame, lit 24/7 and visible to passersby. That bright glow stands in tension with the artworks within, where three silver trays hang in a row, each adorned with cut-up typewritten text evoking zine

  • View of “Yves Scherer and Ophelia Finke,” 2016.
    picks September 08, 2016

    Yves Scherer and Ophelia Finke

    Hot-pink theatrical lights, a cocaine-colored motorcycle, and sexy-sweet cuddling—this show wants to knock you out with its bold arrangements. Ophelia Finke contributes the bike (Balthazar, all works cited, 2016) and Yves Scherer the cuddling, in the form of a figurative wall sculpture titled Johnny & Kate (indeed, Depp and Moss, respectively). The vibe is of smart, restless young things trashing their parent’s house. Or in this case, Our Lord and Father’s house: The central collaborative work anchoring the presentation is a deranged manger inside a hut, Crib—a nightclubby yet weirdly Arte

  • Libby Rothfeld, Option #1, 2016, tile, grout, cement, porcelain, potatoes, glassware, rock, plastic basket, 33 x 36 x 21".
    picks August 12, 2016

    “Daydream from 2013”

    2013: too recent to be nostalgic about, but long enough ago to feel like another lifetime. The Surrealists thought they could harness the latent energies of outmoded objects to revolutionize society. In contrast, the artists in this group exhibition, curated by Matthew Flaherty, find potential in the barely obsolete. The key to the show is, perhaps, in its title: “Daydream from 2013.” These makers prefer dreaming while awake, as that diaphanous membrane guarding the unconscious becomes looser, closer, and probably looks a lot like the fabrics and shiny resins of Olivia Erlanger’s wall sculptures,

  • Joseph Geagan, The Fiddling Mykkis, 2016, pastel on paper, 50 x 38''.
    picks July 08, 2016

    Joseph Geagan

    Joseph Geagan documents his scene in a delicate analog mode, with pastel and paper instead of an iPhone. The artist’s exhibition here, “Toast for Old Chum,” consists of sixteen large drawings depicting Geagan’s glamorously louche friends in an electric, expressionistic style. At first glance you think you’re looking at East Village denizens, circa 1980-something. But Geagan’s not a dyed-in-the-wool nostalgist. Though the artist’s pictures are deliberately handmade, they are, paradoxically, suited to Instagram (on the gallery’s feed, some of Geagan’s subjects pose in front of their representations).