print October/November 2020

Jessica Wilson

An entire genre of quarantine art reflecting on the experience of isolation emerged this past summer. Jessica Wilson’s Not Normally at Rest, 2020—a suite of animated videos starring an anthropomorphized duplex wall outlet in a nondescript apartment—tapped into a shared sense of anxiety among those of us still trapped at home. The title alone could be imagined as a defensive response to the question How are you?—a charged greeting we’ve heard over and over again in the last several months via text messages and Zoom calls, mandatory check-ins, online classes, work meetings, pessimistic political

interviews September 08, 2020

Jesse Chun

A New York–based artist who has previously lived in Hong Kong, South Korea, and Canada, Jesse Chun studies the way language—especially English—shapes cultural experience. From the tedium of bureaucratic boilerplate to the social attitudes embedded in the ESL curriculum, Chun manipulates the tools of English-language pedagogy and officialdom to expose the linguistic imperialism of this so-called common tongue. In the past, she has used children’s alphabet toys as molds for silicone and graphite sculptures, creating abstract, illegible forms. Other bodies of work build a visual lexicon from the

print September 2020

Hiba Schahbaz

Born in Karachi, Pakistan, Hiba Schahbaz studied Indo-Persian miniature painting in Lahore before moving to New York about a decade ago. Her work melds the formal traditions of this genre with contemporary interests of self-representation, as the perspectives of female artists are virtually absent from the history of this type of imagemaking. Schahbaz’s art features stylized nude figures based on her own likeness and range in scale from small paintings to life-size installations composed of paper cutouts. “In Solitude,” her online-only exhibition at De Buck Gallery, featured seven intimately

print July/August 2020

Zsófia Keresztes

Five years ago, the artist Audrey Wollen shook the internet with her “Sad Girl Theory,” proposing the notion of female sadness as a mode of politicized resistance that runs counter to the “lean-in” rhetoric of empowerment feminism. In her photo series “Repetition,” 2014–15, Wollen re-created artworks made by men, in which she posed as moody, modern versions of art history’s female muses. (One image shows Wollen from behind, lounging nude in bed like Ingres’s odalisque. She gazes at her laptop webcam, while the front of her body is displayed on the screen.) The reception to this project was

print April 2020

Annabel Daou

Although political discourse contains language that is seemingly direct, it is subject to endless interpretation and reinterpretation. Take the Declaration of Independence’s “All men are created equal,” which has been quoted with rhetorical flourish by American civil rights icons including Martin Luther King Jr., Abraham Lincoln, and Elizabeth Cady Stanton. In a 2009 interview, Donald Trump—a willfully obtuse man who is barely literate—called the statement “very confusing.” This ugly moment foreshadowed his presidency, one that is bolstered by supporters—such as White Lives Matter, among other

slant March 13, 2020

Weapon of Choice

A DECADE AGO, while living in Houston, Texas, I volunteered as a patient escort at the city’s Planned Parenthood downtown office. Then located on a busy street, the reproductive-care clinic’s public location attracted a diverse cross-section of the anti-choice movement. The scenes outside the office ranged from the bizarre to the ghoulish. In a modern interpretation of the Battle of Jericho, one man circled the building seven times every afternoon and blew on a shofar, in hopes that the clinic would crumble to the ground. Busloads of students from religious high schools in Houston’s conservative

picks February 03, 2020

Whitney Hubbs

It wouldn’t be a stretch to call Whitney Hubbs a photographer’s photographer, invested as she is in the medium’s history and technique. But her images possess a psychosexual tension—not to mention a preoccupation with staging—that aligns them with performance art. In the exhibition “Animal, Hole, Selfie,” these subjects are captured in a trio of sumptuous black-and-white images: a picture of a horse shot from above, standing curiously still amid piles of its own manure; the evocatively dark opening of a cavern; and a nude self-portrait the artist snaps in a mirror, a snake tattoo coiling around

print October 2019

Dana Hoey

From catfights to survivors of the great outdoors, Dana Hoey’s photographs represent tensions within and among her female subjects. Since the late 1990s, much of the discourse surrounding her work has centered on its fictional and nonfictional aspects—that is, the distinction between her staged and candid pictures. Her latest solo exhibition at Petzel, “Dana Hoey Presents,” is premised on the “parafictional.” Hoey’s use of the term, however, does not refer to the slippage of imaginary characters into reality but draws on what the art historian Carrie Lambert-Beatty describes as practices “built

picks September 20, 2019

Lily van der Stokker

Lily van der Stokker’s candy-colored work has always tempered its sense of twee with a critical bite. In “Exhibition of the Medicines,” a chiffon-yellow palette serves as the Dutch artist’s backdrop for a diaristic divulgence of the drugs and doctors that treat her and her friends’ maladies. Now in her mid-sixties, she considers the everyday subject matter of aging—that most universal concern. Her new drawings take on a heavier meaning here in the United States, where essential oils are hawked as preventive care, but single-payer health insurance remains a pipe dream.

The artist’s mural Age 65.75

print September 2019

Heidi Bucher

“We, all women, have quite a primeval relationship to textiles,” said the Swiss artist Heidi Bucher (1926–1993) in an interview from 1975. She draws a connection between fabric as women’s labor (“We’ve made it all ourselves”) and as capital (“the [bridal] trousseau and all that”), a frank reference to women as chattel passed from father to husband. At the time of the interview, Bucher was navigating a radical shift in her creative practice and personal life. Following her divorce in the early 1970s from the artist Carl Bucher, who collaborated with her on various fashion and art projects, she

picks July 24, 2019

Heather Dewey-Hagborg

“To break the cell is to trespass the most intimate of spaces,” intones Heather Dewey-Hagborg in T3511, 2018, a multichannel video that centers on her obsession over an anonymous saliva sample she purchased online in 2016. We learn through a (potentially fictional) series of narrated letters that the saliva came from a mysterious entity called Donor T2305. The artist then sent off a portion of the material to get genetically tested. Upon receiving the results, she profiles the donor—a male, dark-haired fortysomething from the Saint Louis area—and finds a match named “Michael Daniels” on social

print Summer 2019

Chiara Fumai

“A ‘male artist’ is a contradiction in terms,” wrote the radical feminist Valerie Solanas in the infamous SCUM Manifesto (1967). The quote appeared in black lettering on a white wall in a 2013 series of photographs by the late artist Chiara Fumai (1978–2017). In her self-portraits posing as various historical figures, Fumai impersonated the Venetian noblewoman Elisabetta Querini; Annie Jones, a bearded lady in P. T. Barnum’s freak show; the stunt magician Harry Houdini; and others. Fumai possessed the intensity and shape shifting abilities of the most charismatic performers. Her feminist art

Wendy Vogel