Paige K. Bradley

  • Hannah Wilke

    Though not quite a retrospective, this judiciously focused presentation, primarily composed of Hannah Wilke’s object work in sculpture and related drawings, implied the continued scope of the artist’s percolating influence some twenty years after her death. Copied onto a gallery wall at the exhibition’s entrance, her moving, ambitious text A Letter to Women Artists, 1975, set the tone: “I want to overwhelm you. I want to touch your feelings . . . Feel the folds.”

    Here, those folds, those little pieces of nature, as she called them, were grouped according to material, the major curatorial focus

  • picks September 12, 2014

    Lily van der Stokker

    For her latest exhibition, Lily van der Stokker has assembled a fiercely united front of matte, Pepto-Bismol-pink painted wooden boxes, furniture, panels, and walls bordered with ribbons of fuchsia and the occasional dollop of creamy yellow for a daisy’s center. The artist—a purveyor of margin-style doodles blown up to mural scale—begins the show with Yelling Women (all works 2014), a sculptural speech bubble protruding off the wall like an advertisement, proclaiming, “only yelling older Women in here Nothing to Sell.” It’s a preemptively dismissive gesture, and critical in turn for how it winks

  • picks July 02, 2014

    Rachel Maclean

    Among the coterie of contemporary artists embracing theatrical installation and narrative—Mary Reid Kelley, Allison Schulnik—Scottish artist Rachel Maclean is emerging as a politicized addition. The upcoming referendum this year on Scotland’s independence sets the tone for this exhibition where politics, celebrity, and the prospect of national unity in the context of the British class system are rendered as allegorical spectacle in luridly colorful CGI. Utilizing green-screen techniques common to film and television, Maclean constructs long-form videos with painstakingly detailed costumes and

  • picks May 27, 2014

    Len Lye

    A well-established figure in the history of experimental cinema, Len Lye’s stature in art history, especially as a crucial link between the early avant-garde of animation and mid-century modernism, has not been properly championed in the United States. This new exhibition makes significant strides towards rectifying that, as well as introducing a body of drawings, paintings, and memorably mysterious photograms never before exhibited, along with documentation of his kinetic sculptures. The foundation of Lye’s practice, which began in the 1920s and continued all the way until his death in 1980,

  • picks April 10, 2014

    Petra Collins

    There is nothing coy about the title of Petra Collins’s debut solo show, “Discharge.” For evidence, see the sculptural array of stiffened, blood-stained underwear on two pedestals, a gesture that implicitly extends into Collins’s photography displaying an unabashedly feminine vision for both its subjects and the rendering of their existence as essentially visual and tactile. Her images focus on the teenage gaze, which could refer to either her subjects’ vantage point or her own. Rather than through a nostalgic look back to adolescence—note the artist is twenty-one years old—the works derive

  • interviews April 03, 2014

    Senga Nengudi

    Los Angeles–based artist Senga Nengudi came to prominence in the late 1970s with her sculptural work—some of which will be on view in her latest exhibition, “Senga Nengudi: The Material Body,” at the Museum of Contemporary Art, Denver—and with her performance, which will be featured through documentation in “Senga Nengudi: The Performing Body” at RedLine, also in Denver. The exhibitions are on view from April 10 to July 13, 2014, and from June 6 to July 20, 2014, respectively.

    WHEN I BEGAN WORKING, it was very personal. I wanted to express how I was feeling about my body and my mind. I had just

  • interviews March 28, 2014

    Judy Chicago

    Judy Chicago is an artist, author, and educator whose long career has focused on women’s experiences and feminist critique. She speaks here about her upcoming exhibition at the Brooklyn Museum, “Chicago in L.A.: Judy Chicago’s Early Work 1963-74,” on view from April 4 to September 28, 2014, and her concurrent shows throughout the United States—including those at Mana Contemporary, Jersey City; the Palmer Museum of Art at Penn State University, University Park, Pennsylvania; the National Museum of Women in the Arts, Washington, DC; the Schlesinger Library at Harvard, Cambridge; and the New Mexico

  • picks March 13, 2014

    Kiki Smith

    “Wonder,” the title of Kiki Smith’s latest New York exhibition, suitably describes both the excitement in first encountering Smith’s garden of earthly delights and an astonished curiosity at their craft-intensive processes. Smith’s output has always been an ascension up the ladder of her own cosmology, and this show evinces how singular her references are.

    This new body of work, four years in the making, once again employs her alphabet of female nudes, plants, and animals. However, these motifs are emboldened by their rendering in a rich catholicity of mediums, which in this display count cast

  • picks January 27, 2014

    Kelly Nipper

    In a carnivalesque hollow of mysterious props, just keep to your right after the stack of oversize weaving shuttles; we’re not in Germany anymore. Instead, the legendary wood known as the “Black Forest” is diffused across Kelly Nipper’s installation as a concept useful for its ability to generate myth wherever it touches.

    Along with influences such as the movement notation systems developed by the Hungarian choreographer Rudolf Laban, Nipper’s latest work declares an evident interest in craft and vernacular art, best displayed in both Red and White, Soft White, Off White, Pure White, Textured

  • picks October 15, 2013

    William Kentridge

    ‘Tis the season for William Kentridge, whose newest work makes for an expansive show in a diverse array of mediums including kinetic sculpture, a beguiling addition to the artist’s catholic output. These eight contraptions, some incorporating the familiar motif of megaphones, are planted around the first room and rigged to sing African children’s songs. One, Untitled (Singer Choir/Chorus), 2013, is a table of Singer sewing machines, which when cranked give the impression of a factory of voices serenading you. Surrounding the sculptures are eleven large collaged drawings of stately trees indigenous

  • 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