Travis Jeppesen

  • picks February 04, 2016

    Michel Verjux

    You walk up a flight of stairs to access the gallery and as you enter, you are nearly blinded: this is Face à face/à revers (source au sol) (Face to face/to back [ground source]) (all works 2016) by Michel Verjux. A circle of white light is projected onto the same wall as the entrance, and when the door is opened to allow visitors in, the circle breaks and the light projects into the hallway or onto you as you walk into and through it.

    Verjux makes sculptures with light. Nothing else is needed. Is this a reduced means of expression? No: With a circle, one can say everything. A circle, after all,

  • picks January 27, 2016

    Markus Bacher

    Markus Bacher’s latest exhibition consists of five large-scale multipaneled paintings. The most successful of these is the triptych “Vagabond” (all works 2015), with a reduced palette of mainly black and white. In the center, an Edvard Munchian splatter-smear of a figure frowns haltingly against a background blur—the smoke of a hostile crowd? It would fit the painting’s overall heavy existential burden. The other two panels are abstract, as they tend to be chez Bacher; the larger one on the left is a white powdery peach with a grimace of yellow and two black stripes on the bottom while the

  • picks January 04, 2016

    Markus Lüpertz

    For his current exhibition here, Markus Lüpertz spent many hours at the museum—which holds Berlin’s collection of classical sculpture—fixedly making drawings based on one work in the collection: a wooden Apollo, 1615–16, by Ludwig Münstermann. And, indeed, you can see why: The figure’s curved, moon-shaped face, with its look of alarm accentuated by a pointy beard, is almost overbearing in its expressiveness.

    It is no coincidence that Münstermann first became a subject of interest among German art historians during the height of Expressionism, and it is also unsurprising that Lüpertz, one of the

  • picks December 29, 2015

    Ed Ruscha

    You would be forgiven for not realizing you had just walked into an Ed Ruscha exhibition: His latest series, “Metro Mattresses,” 2015, looks completely different from his previous work. But does it really represent a complete break? The perennial on-the-road artist, Ruscha noticed discarded mattresses littering the sidewalks while driving around Los Angeles. He began photographing them, amassing quite a collection, and then re-created the images using acrylic paints and colored pencils on museum boards.

    Ruscha’s draftsmanship is photorealist precise and the images are sublime—always mysterious,

  • picks December 28, 2015

    Rolf-Gunter Dienst

    Little known outside of Germany, Rolf-Gunter Dienst has had a prolific career, not only as a painter but also as a publisher and an editor, in addition to being considered one of the most important German art critics of the past century. From 1992 until his retirement in 2008, he was a professor at the Academy of Fine Arts in Nuremberg. This expansive exhibition focuses on Dienst’s early gouaches and oil paintings, most of which are on paper, that are largely composed of calligraphic squiggles and marks arranged in horizontal lines as an asemic writing. An untitled gouache on paper work from

  • picks December 03, 2015

    Ann Veronica Janssens

    Yellow, blue, pink: The three colors, projected from somewhere above, fade and bleed into one another as you move through them. However, you are only aware of what color you are several seconds after the fact—there is a delay between your arrival in one state and that knowledge hitting your brain, disoriented as you are by everything else that is happening to you perceptually as you wander through the mist, the fog . . .

    Ann Veronica Janssens’s yellowbluepink, 2015, is the name of this thing you’re walking through. It consists of mist and light, contained within an airtight room. You have to

  • picks November 25, 2015

    Ceal Floyer

    Ceal Floyer’s practice consists of tiny gestures that consistently add up to a sum of intrigue and joviality. There are only five works in her current exhibition, and they’re enough. The show is all about boundaries: so much fun to trespass, so confusing in their essential arbitrariness. One is a row of small black rectangular objects running all the way across the floor, forming a mini wall. Are they dominos? We assume so, given the title, Domino Effect (all works 2015), and their appearance in profile, though we cannot see their faces to confirm that they have dots, as they are packed in a

  • picks November 18, 2015

    Peter Stauss

    Peter Stauss’s latest exhibition features a recurring figure he calls the Dutch Master, which, with his wide-brimmed hat, may or may not be a reference to Vincent van Gogh. This is less an art-historical gag, though, than a vehicle with which the artist might move through the static formats of painting and sculpture, positing the body as an ever-morphing entity that is reinvented each time it finds itself being depicted. In Dutch Master (Menu) (all works cited, 2015), one of the four large-scale oil paintings on plywood displayed here, parts of the artist-figure’s body have been blasted apart

  • picks November 05, 2015

    Jia

    One of Mao Zedong’s more insidious achievements in mainland China was the Chinese character simplification program. With the supposed intent of improving literacy, the program reduced the number of strokes deployed in writing characters, effectively neutering the written language’s pictographic and ideographic content. A lesser known component of the initiative was the elimination of nearly two thirds of all Chinese characters from official use. Naturally, this was also done for ideological purposes; it becomes quite difficult to voice certain thoughts that might be unpleasant to the ears of

  • picks November 02, 2015

    Joan Miró

    This exhibition is an enriching supplement to the major retrospective currently on view at the Kunsthaus Zürich, offering a glimpse of a lesser-known Joan Miró with works spanning each decade of the artist’s career. While the Kunsthaus show provides a crowd-pleasing survey of paintings in his canonical style, this one goes deeper in proving just how multifaceted Miró was as an artist.

    The sheer range of media here rouses us to the depth of the artist’s formal curiosity, with examples of his work in sculpture, drawing, and mixed-media collage, as well as textile-based assemblages that Miró called

  • picks October 19, 2015

    “Site, Specific, Objects”

    Brazil and Croatia might be continents apart, but they share a strong history of Concretism. This exhibition brings together three artists rooted in these locales working in the same tradition, each with a distinctive approach to abstraction. Goran Petercol is the most gestural of the bunch: His Reaches and Half of Interspace (all works cited, 2015), for instance, is a large charcoal drawing consisting of black horizontal and vertical lines intersecting to form both upper- and lower-case T shapes, eventually concluding with a rendering of a large phallic crayon at the right end. His Halves of

  • picks October 08, 2015

    Nicole Eisenman

    The Kiss might represent one of those unattainable canonical ideals in art history, thanks to Rodin, but that doesn’t stop the likes of Nicole Eisenman from practicing her own French. (Sorry.) Although there are lots of works in her exhibition here, Le Kiss Deux (all works cited, 2015) is the indomitable highlight, showcasing Eisenman’s great agility with form. The two kissers in profile roughly form a heart, though in such a subtle way that you have to step back and look at it for a while before it comes to you. On the right, the kisser—the genders of both are indeterminate—has their eye closed,

  • picks October 02, 2015

    Maria Loizidou

    The ancient burial grounds of Kerameikos are one of the most fascinating places in all of Athens. The trees there have known so much in their time that they’re like God. It’s not just ruins; this old cemetery is very much alive. Thousands of colonies of ants swarm on the ground, feasting on the fertile soil of dead centuries. Even an old turtle I watched moving intently across a path was following the daily route of the cynic philosopher Diogenes.

    But there’s nothing cynical about Maria Loizidou’s project “A Transfer,” 2015, elements of which one finds scattered throughout the museum and cemetery

  • picks October 02, 2015

    Michael Krebber

    Michael Krebber’s latest paintings are all gesturo-minimalism—little marks and dabs staining otherwise pristine canvases. At least the ones on the ground floor, the clear highlights of this exhibition, demonstrating the limits a painting can reach while still remaining a painting. MP-KREBM-00090 (all works 2015), is just a copper dash running down the right side of the canvas: a scar that will never heal. MP-KREBM-0089: pure rhythm and splotch. Two thick marine blue handles sit at center roughly equidistant from the sides of the canvas. There is a lighter blue dash in the upper right corner.

  • diary August 03, 2015

    On Garde

    IF IN BERLIN the days have a tendency to bleed into one another forming a sort of haze—a gray one, to be precise, punctuated with rare bursts of sunshine—then the fabric of the nights is most definitely a fuzz of whirling dance-floor lights, glitter, makeup, and bodies of every and any and no gender in various states of undress. Amid the noise, the excitement, the inner violence of our daily exercises in being and creating, it can be easy to forget that we are living among a bevy of talented creatures. Yo! Sissy, the city’s premiere queer music festival, became the first event ambitious enough

  • picks July 31, 2015

    “Fassbinder Now”

    Had he not bowed out of the party at the age of thirty-seven from the workaholism demanded by forty feature films in fifteen years, all fueled by a toxic combination of cocaine, booze, and Valium, the filmmaker Rainer Werner Fassbinder would have turned seventy this year. Although Berlin was not his hometown—Fassbinder was born in the more conservative city of Munich, where he shot nearly all his films—he did transform one of the city’s canonical texts, Alfred Döblin’s Berlin Alexanderplatz, (1979–80) into celluloid magic with his fourteen-part adaptation for television. This summer has seen a

  • picks July 24, 2015

    “Passion: Fan Behavior and Art”

    Popular music and visual art have long been partners in a mutual admiration society, with so many examples of feedback and exchange that an exhibition on the theme of their overlap could be limitless. It is all the more interesting, then, to consider what has been bracketed for inclusion here. Hajnal Nemeth’s video Imagine War, 2014–15, presents a cover band doing hippie classics with the lyrics altered to endorse violence and terror rather than peace and love: “Here Comes the Gun,” “I’ll Be Your Terror,” and “Crime is on My Side.” Ming Wong excavates footage from David Bowie’s 1983 tour of Asia

  • picks July 23, 2015

    Minjung Kim

    The title of Minjung Kim’s solo exhibition, “The Light, the Shade, the Depth,” is indicative of the simple yet potent evocations that her ink-wash paintings on paper conjure. The clear highlights among those here are her renderings of mountains. Kim captures the essence of stillness in Mountain, 2012, one of the more masterful works, in which craggy formations emerge in the top half of the painting as smoky, ghostlike emanations that seem to blend into one another before becoming gradually denser as they move down the plane, eventually culminating in blackness. In a smaller painting from 2008,

  • picks July 23, 2015

    William Crawford

    With the requisite anomalous art brut backstory—a box of hundreds of his obsessive pornographic drawings found in an abandoned house, their creator untraceable, now suddenly being shown by the likes of David Zwirner—William Crawford seems poised to be anointed the newest contemporary Perv Poet of the Pencil. Sketching his fantasies on whatever paper surfaces he had at his disposal (some of which are the duty rosters of a California correctional facility, suggesting that the artist was likely imprisoned for a lengthy period), the resulting untitled works, all dated to the 1990s, represent a great

  • picks July 22, 2015

    “My Wife Does the Dishes, I Do the Revolution”

    Guy Debord’s famous slogan, Ne travaillez jamais (never work), is scrawled in Nicolás Guagnini’s painting Work No. 4, 2014, among a mishmash of intersecting T-lines and square shapes, all in varying shades of gray—an apt start to this David Rimanelli–curated extrapolation on the dick vibe that has historically, and some might say continuously, underscored so much modern painting. It is hard to be funny and critical at the same time, to get the balance just right, but this show is a rare example. Formalists will get their pickles tickled by the squares and dots bouncing off each other in paintings