Sarah Lehrer-Graiwer

  • picks January 24, 2008

    Rachel Mason

    About a year ago, Rachel Mason began following presidential hopeful John Edwards on the campaign trail, studying and sketching him mid–stump speech in order to illustrate a piece of political reportage by Will Blythe. Her itinerary brought her into contact with all of the presidential candidates, and the assignment developed into an extensive catalogue of drawings investigating the gestural tropes and recurring postures of contemporary campaigning. For this exhibition, titled “The Candidate,” Mason overfills the gallery walls with approximately 250 of these quick sketches, arranged thematically

  • picks December 29, 2007

    Guy de Cointet

    Regarding text as a fluid continuum of ciphers, signs, and codes, Guy de Cointet visualized language as the occasion for attenuated reading and word games. Pairing formal clarity with opacity of meaning and deferred comprehension, Cointet’s language-based practice ranged from restrained drawings; graphic, signlike paintings; and books and newspapers in code to theatrical productions and their accompanying sculptural stage props. Examples of every medium are on view in this exhibition, but the eight works on paper, made between 1971 and 1983, are riveting: In some, sentences are elegantly scripted

  • picks October 02, 2007

    Kelly Nipper

    Kelly Nipper’s movement study Circle Circle, 2007, is a spellbinding two-channel video projection filling the gallery’s east and west walls with footage of a dancer seen from behind while continuously tracing circles with the steady revolution of her hips. One side of the projection runs in real time, with each revolution spanning two seconds, while the facing image plays in slow motion, so that every movement takes twice as long to complete. Falling in and out of sync with her mirror image, the rhythmic simplicity and metronomic regularity of the dancer’s circling movements quickly become

  • picks September 12, 2007

    Jessica Stockholder

    The compound construction of Jessica Stockholder’s last name indicates both the assemblage of parts into a unity and the taking stock of material things that together constitute the artist’s sculptural practice. Articulated on a more intimate scale than the installations that best showcase her exuberant accumulations, the five recent sculptures in this exhibition project out from the gallery’s perimeter as arrangements of manipulated consumer goods piled up in the tradition of Robert Rauschenberg’s combines. Stockholder emerges from the storeroom with a poetry of inventory: a palm-leaf lamp,

  • picks July 31, 2007

    Martin Barré

    The searching quality of poetry is in Martin Barré’s paintings: They are slow, aleatory, considered, distilled. Four of Barré’s early works, from the 1960s, display a preoccupation with line as the prime index tracking the artist’s ephemeral meandering over canvas. The four-panel painting 62-5, 1962, is exemplary: Like a raw nerve, line shudders, alternately diminished and swollen. Paint’s residue evidences the solitary incursions of a brush; elsewhere, the atomized emission of spray paint is isolated in a single line crossing the top left corner of 65-A 81 x 54, 1965. Barré (1924–1993) preserves

  • picks June 18, 2007

    Rafal Bujnowski

    What happens to a painter’s rejected canvases and discarded efforts—his “wrong works”? Rafal Bujnowski has stacked several years’ worth of his unwanted paintings under a three-ton weight, transforming studio detritus into a six-part suite of sculptures and photographs, Wrong Works 2005–2006, 2007. In it, there is a kind of before-and-after dynamic: A large photograph depicts a number of the artist’s painted canvases ripped from their stretchers, lying in a limp, crumpled tangle on the floor, while five medium-format tabletlike objects protrude from the wall as evidence of the paintings’ later

  • picks May 15, 2007

    Michael G. Bauer

    Obsessive and labor-intensive, Michael G. Bauer’s “Meditational Love Drawings” spell out LOVE with manic zeal, the word writ small over and over again until the continuous strands of repeated cursive cumulatively form intricate patterns and overlapping tonal fields. Scrawled in ballpoint pen and pencil, Bauer’s line is compulsively scripted into language that makes love stutter and spin in circles. Words go through acrobatics, running upside down and backward across the twenty-seven drawings on display, speaking of solitude, breakdown, infatuation, and grace simultaneously. Through repetition,