Tal Sterngast

  • View of “Selbstbildnis,” 2019.
    picks October 08, 2019


    “Selbstbildnis” examines the evolution of self-portraiture from the 1970s to today. While most of the artworks in the exhibition are pulled from the gallery’s roster of contemporary artists—Trisha Baga, Petra Cortright, and Ned Vena, among others—the exhibition’s selection of historical works weaves a thread that is meditative rather than disputative. That all the 1970s works by women are photographic pinpoints the exhilarating moment that women turned to the medium—indexically physical and inherently surreal—to pave new, radical modes of self-description. Hannah Wilke and Francesca Woodman’s

  • Eitan Ben Moshe, Ad Olam, 2017–19, melted glasses, plain glass, epoxy resin, 3-D prints polymers, rotary engines, digital timers, electronic devices, metal, led light, fabric, metal, aluminum plates, Gypsum boards, 10 1/2 x 20 1/2 x 13 1/2'.
    picks July 19, 2019

    Eitan Ben Moshe

    Every single element in Eitan Ben Moshe’s exhibition “Thus Far” seems to be outside its natural habitat, but what that habitat is remains unclear. Entering the exhibition, visitors encounter a room within a room—a box of mirrors, partially darkened, divided in two (Ad Olam, 2017–19). Reflective walls surround an elevated crystalline surface partly covered with a white coating that resembles ice or hardened dust: Deserted alchemical lab or small-scale tundra? Turning and shaking slowly via a rotary engine, glass fragments emit a melodic sound that metamorphizes them into musical instruments.


  • Horia Damian, Heptagone etoile, 1952, acrylic on wooden panel, 38 x 38 x 1".
    picks May 21, 2019

    Horia Damian

    Can looking back at the historical moment in which the avant-garde sought to transform humanity through art be fruitful today? A presentation of drawings, paintings, and models by Horia Damian (1922–2012) suggests the affirmative. Born in Bucharest, Damian moved to Paris in 1946, where he lived and worked until his death. His monuments, rooted in the early modernist traditions of Soviet Romania and Paris, and set against the backdrop of 1960s Minimalism, reflect neither ideological pathos nor an ironic criticality. Instead, the monument served him as a medium, situated between art, landscape,