T. J. Carlin

  • picks June 01, 2011

    Debo Eilers

    In one of the two videos in the basement of this gallery, Debo Eilers slows down the mastication of handfuls of chocolate chip cookies and smears the tiled walls of the fluorescent-lit crawl space with the resulting substance––the only nonsynthetic one in this show.

    Finger painting with the dribble-shit from your mouth is as good an allegory as any for attempting personal expression. The exercise in identifying signs, in which the average participant in general culture engages, is vigorous; this doesn’t always leave time for the dismantling of cause and effect crucial to abstraction. However,

  • interviews March 11, 2011

    Liz Wendelbo

    Liz Wendelbo is an artist who primarily works in film and photography. With Sean McBride she also plays in the Minimal Wave band Xeno & Oaklander. Wendelbo has recently shown her films at the New Museum and Microscope Gallery in New York, and she has a selection of pieces on view at Agnès B./Galerie du Jour in Paris as part of a group show titled “Musique plastique,” which explores connections between art and music. The exhibition is on view until April 2.

    THE WORK I AM SHOWING at Galerie du Jour debuted last November at Microscope Gallery in Brooklyn, and it takes as a departure point Isaac

  • picks February 06, 2011

    E’wao Kagoshima

    The bizarre bodies in E’wao Kagoshima’s pieces enact a narrow rubric of verbs: slithering, sliding, galumphing––but no sliming. For all their fluidity, the works on view, which span four decades and include figurative paintings as well as abstract collages, all feel stretched tight by an aridity that recalls Robert Smithson’s dry climate of sight, and evokes the same psychological remove. This dryness manifests materially: in the crumbling dust of gestural pastel works on paper that recall Stuart Davis’s jazz-influenced rhythms, and in the chalkiness of the white patina that glows on the surface

  • picks November 11, 2010

    A. K. Burns and Katherine Hubbard

    A. K. Burns and Katherine Hubbard’s project “The Brown Bear: Neither Particular, Nor General” is a salon in all senses of the word. Over the course of two months, visitors are invited to propose and receive haircuts and hair removal (or extension) services by the artists, who are working in Recess’s small storefront, at times surrounded by concurrent happenings that also blur the line between performer and participant.

    A pleasantly chaotic ambiance reigns in this space. Discarded locks are left to accumulate in piles on the floor. Saturday performances, many of which solicit participation from