Phil Taylor

  • View of “Katinka Bock: Populonia,” 2014.
    picks October 15, 2014

    Katinka Bock

    To visit Katinka Bock’s “Populonia” is to enter a complex conceptual geography. A pair of parallel hoses—one containing brackish and the other fresh water—courses through the gallery, each diverted from the same faucet. Before spilling onto the sidewalk, the tracks wend through configurations of ceramic, bronze, steel rebar, glass panels, and textiles that evoke or mirror city plans, the architecture of the gallery, anthropomorphic statuary, and archaeological digs. An aperture incised by the artist in a gallery wall frames a normally private viewing room in which additional works are installed.

  • Letha Wilson, Iao Valley Concrete Bend, 2014, C-print, emulsion transfer, concrete, aluminum frame, 28 1/2 x 4 1/2 x 1 1/2".
    picks October 15, 2014

    Letha Wilson

    Letha Wilson’s blend of photography and sculpture speaks to the entanglement of human and natural histories as we come to terms with the Anthropocene. In her latest solo exhibition, Wilson offers new composites of the natural and the architectonic, in an array of aleatory techniques that fuse cement and concrete with C-prints as well as with emulsion transfers of abstract phenomena rendered in high-saturation hues. Photographs are not mere images here but can also serve as printing matrix or casting mold.

    Categorical ambiguity reigns throughout the show, and it’s difficult to find a unified