previews January 2019

“HINGE PICTURES: EIGHT WOMEN ARTISTS OCCUPY THE THIRD DIMENSION”

Curated by Andrea Andersson

“Perhaps make a hinge picture,” begins one of the ninety-four notes in Marcel Duchamp’s 1934 portfolio The Green Box. The suggestion presents a contradiction: an image, neither painting nor sculpture, that is ﬁxed in one plane but free to move in another, swinging into space. Installed across eight galleries, one per artist, this exhibition features more than ﬁfty new and recent predominantly abstract works whose ambiguous, hybrid nature honors Duchamp’s “principle of the hinge.” The pieces on view—including Leslie Hewitt’s photo-sculptures, Erin Shirreff’s dye

picks May 04, 2018

Daniel Rich

One of the newest paintings in Daniel Rich’s show here is based on the prototype by Caddell Construction Co. for Trump’s proposed wall between Mexico and the United States. View from the Palisades, 2018, depicts the bottom half of the design in an almost Op art style—the scintillating pattern of a fence, mountains, and sky—suggesting that the divide is a fractured, and certainly fractious, illusion.

The president’s immigration measure is simplistic and stupid. But Rich’s process for making paintings of imposing manmade edifices is anything but. First, he sources an image, adjusts it for desired

picks March 23, 2018

Sarah Crowner

Sarah Crowner’s acrylic-on-canvas paintings have been put through the wringer. Her abstract imagery, made up of multicolored semicircles, is cut up, stretched, restretched, and sewn together. Visitors can step up and down on low wooden platforms to “enter” the paintings, turning the experience into a performative event. These stages are pieces of a puzzle, as they formally mimic the rounded contours in her paintings.

Sometimes her brushwork is visible, while other times it is totally flat, hiding aspects of the artist’s decision-making process. Her works’ seams quietly reveal that certain passages

picks February 09, 2018

Kasper Bosmans

Kasper Bosmans reinterprets selected relics to direct our attention toward the seemingly obsolete powers that conceived them. On a large wall, Ebstorf Map (life size) (all works 2018), is made up of three rows of ten panels that replicate the titular document. The original thirteenth-century mappa mundi, with Christ's face included at the top, illustrates more than mere geographic information. Here, the distance between each parchment expands the surface that the piece occupies, suggesting the map's purpose: to promulgate European dominion.

Complementary to such a conquest were “chip logs,” wooden

Valentina Sarmiento Cruz