Paige K. Bradley

  • picks September 16, 2013

    Bjorn Copeland

    Concurrent with his noise electronics band Black Dice, Bjorn Copeland has spent the past two decades reconfiguring the everyday commercial feed into postproduct and postmusical assemblages with printmaking, collage, and sculpture. Copeland’s third solo exhibition at this gallery opens not with a bang but with a bucket, white plastic to be precise, stuffed with cemented model airplane wings. The piece, crookedly titled Ground Potential (all works 2013), is a wry opening note for the seventeen works on view; a collection strongest in sculptures that are judiciously composed and surprisingly

  • picks June 22, 2013

    Silke Otto-Knapp

    For her second solo show at the gallery, Vienna-based artist Silke Otto-Knapp presents a highly individualized body of new work that features a wall of etchings and her signature watercolor-on-canvas paintings. The works pivot between daydream-like images and a detached nostalgic charm reminiscent of Edward Gorey’s drawings. Here, though, the delicate washes of color and purposefully vague subject matter seduce the viewer into wandering through the various flights of fantasy put on display.

    The centerpiece of the exhibition’s first room is “Three Seascapes,” 2013, forty-two unique etchings that

  • picks May 15, 2013

    Wolfgang Tillmans

    In Wolfgang Tillmans’s latest exhibition of casual snapshots, abstractions, and framed and unframed photographs—many from his recent “Neue Welt” exhibition at the Kunsthalle Zurich—he suggests that a single image always contains multitudes. Jeddah mall I, 2012, evinces this idea in a wonderfully literal way. The ink-jet print depicts a woman shrouded in a black burqa riding an escalator in a Saudi Arabian shopping mall. The gleaming mirror finish of the escalator sends reflections skittering around the surrounding store windows and fixtures while her opaque figure cuts the only interruption in

  • picks April 01, 2013

    Faith Ringgold

    Following the first comprehensive survey of Faith Ringgold’s paintings from the 1960s at the Neuberger Museum of Art in 2010, this exhibition of her early works includes selections from the series “American People,” 1962–67, and “Black Light,” 1967–69, as well as six examples of her famed story quilt paintings. The Lover’s Trilogy: #2 Sleeping, 1986, an example of the latter, depicts a couple sleeping with a blanket running across their bodies, embellished with the story of their dysfunctional yet loving relationship, while the colors and shapes of fabric surrounding the figures speak to their