Suzanne Hudson

  • Byron Kim

    Byron Kim’s exquisitely subjective monochromes are suspended between the reflective, heady abstraction of Reinhardt, Marden, and Rothko and the deft, politically incisive Conceptualism of Felix Gonzalez-Torres and Glenn Ligon.

    Byron Kim’s exquisitely subjective monochromes are suspended between the reflective, heady abstraction of Reinhardt, Marden, and Rothko and the deft, politically incisive Conceptualism of Felix Gonzalez-Torres and Glenn Ligon. Alternately indexing skin, Korean celadon pottery, a station wagon, and even a Brooklyn public pool, his paintings will be shown to great effect in his first major solo museum exhibition. Against the BAM’s neo-brutalist architecture, the hazy atmospheric surface effects of these thirty-two works should betray an unbearable lightness of being.

  • Faces in the Crowd

    Refusing a formalist privileging of abstraction and autonomy, the artists constellated here—a who’s who from Picasso to Heartfield, Warhol to Sherman—have recourse to the figure.

    Like a good modernist, this show starts squarely with Manet, but like an even better deconstructionist, its roughly sixty works in various media propose alternate histories of this well-traversed terrain. Refusing a formalist privileging of abstraction and autonomy, the artists constellated here—a who’s who from Picasso to Heartfield, Warhol to Sherman—have recourse to the figure. A comprehensive catalogue-cum-anthology penned by such contributors as Ester Coen, Charles Harrison, Jill Lloyd, Robert Storr, and exhibiting artist Jeff Wall accompanies the show. An imaging of the social in many

  • “Establishing Shot”

    In filmic terms, “establishing shot” refers to the opening sequence of a scene, the images that spatially orient the audience and anchor subsequent events. Often a wide shot, or literally a long shot, it sets the location, characters, and mood of what follows, thus becoming a crucial—if often stymied (intentionally or otherwise)—point of narrative reference. At once an incipient lexicon of possibilities and a limit set within which such possibilities might arise, the singular, presumably intelligible establishing shot is really only legible within the resultant narrative sequence. Thus it often

  • “The Art of Science”

    In light of recent art-historical obsessions with technology, information theory, vision, and modes of attention—not to mention our acute cultural preoccupation with all things scientific—it is perhaps unsurprising that the ICP has devoted a number of shows to such topical themes. Eugenics, genetics, and the discovery of DNA all figured prominently in past installments of its five-show series “Imaging the Future: The Intersection of Science, Technology, and Photography,” curated by Carol Squiers. Even so, this final show managed to astonish in a way that its predecessors did not. Tucked away in

  • Roni Horn

    For Roni Horn’s show, over eighty photographs of the eponymous river in her ongoing Some Thames are installed in a lateral sequence coursing through the Art Institute’s public spaces (collection and exhibition galleries) and private recesses (the library and administrative offices).

    For Roni Horn’s show, over eighty photographs of the eponymous river in her ongoing Some Thames are installed in a lateral sequence coursing through the Art Institute’s public spaces (collection and exhibition galleries) and private recesses (the library and administrative offices). On view in its entirety for the first time in the US, the series is accompanied by Saying Water, Horn’s slide show and performance comprising visual and historical anecdotes relating to the Thames. Here, the dark surface opacity of Some Thames’s mutable, oily material is penetrated by the