Stanton Taylor

  • View of “Leda Bourgogne: Dead Heat,” 2020.
    picks March 16, 2020

    Leda Bourgogne

    Following a series of breakout shows in recent years, Leda Bourgogne’s most recent outing, curated by Cathrin Mayer, reads like an early-career retrospective. Astute viewers are likely to pick up on Bourgogne voraciously citing the canon of women artists. One finds echoes of Susan Rothenberg’s fleeting figures dissolving into a flurry of gestures, Eva Hesse’s swaths of translucent matter mended into diaphanous forms, and even a dash of Hanne Darboven’s meditatively mechanistic mark-making. But despite all the erudition on display, Bourgogne doesn’t seem particularly interested in dwelling on

  • View of "Phung-Tien Phan,” 2019–2020. From left: Volkswagen (Longevity), 2019; Volkswagen (Saigon), 2019.
    picks January 06, 2020

    Phung-Tien Phan

    The unspectacular drama of Phung-Tien Phan’s recent show unfolds around a European vision of Millennial respectability: spacious prewar apartments, retro kitchen appliances, and carefully curated pop references. Aimlessly quotidian, the video Actress & Actors (all works 2019) follows cultivated white men as they flaneur their way through posh neighborhoods and lush fields to the sounds of Carly Simon or the Strokes. Meanwhile, Phan herself makes phone calls, brews coffee, arranges an interior set. The cuts in Actress & Actors are abrupt, and the audio rarely syncs. At one point, the men suddenly

  • Elif Saydam, Artists, 2019, twenty-three karat gold, oil, and inkjet transfer on canvas, 11 3/4 x 8 1/4".
    picks November 14, 2019

    Elif Saydam

    Scattered throughout the gallery we find dead skin, old packaging, and other undesirables. This urban detritus is home to the bottom feeders of our world: parasites, insects, worms. For “Hotline,” 2019, a series of inkjet transfers on translucent silk, Saydam took images from exterminators’ websites that compare bugs with coins for scale. Next to the pennies and dimes, the insects’ lives are made to feel little, smaller even than the smallest of change. These appropriated photos are accompanied by slogans lifted from flyers advertising to the hopeless—such as “Lonely on the margins? Meet

  • Rindon Johnson, Among other things . . . , 2019, HD video projection, 26 minutes 34 seconds, color, sound. Soundtrack by Zeelie Brown.
    picks May 30, 2019

    Rindon Johnson

    Whatever the flavor of Beyoncé’s Oshun-inspired awokening, we continue to drown. “Circumscribe,” Rindon Johnson’s first institutional solo show in Europe, conjures a panorama of a Black afterlife aquatic. Cleverly exploiting the venue’s transparent partitions, he submerges us in a multimedia environment that weaves together videos, objects, texts, and sounds. Though bodies, human or otherwise, are present in works such as the video It is April (JSC) (all works cited, 2019) and the virtual reality installation Diana Said, what stands out are the traces of their labor. The hides of cows—a species