Wendy Vogel

• 

  print March 2019

  Jane Kaplowitz

  Embedded in the nebulous and frequently exasperating terrain of emotional labor is the work of keeping up appearances. For the romantic partners of powerful people—often the wives of men—these efforts usually germinate into an alter ego that plays the dual role of host and companion. Jane Kaplowitz’s exhibition “RSVP: Jane Rosenblum (1977–2018)” paid tribute to this performance of self. Kaplowitz was married to the renowned art historian Robert Rosenblum, some twenty years her senior, who died in 2006. Over the course of their relationship, the artist found herself at the center of the art world

• 

  picks January 24, 2019

  Pooneh Maghazehe

  Following her exhibition last fall at New York’s 17ESSEX, which touched upon mythological appearances of twins, Pooneh Maghazehe’s “2for1” here finds its roots in a more pedestrian story. In the press release, the artist writes about spotting a pair of identical twin girls in Miami—prepubescent and blonde, sharing equal sips of a Diet Coke. Maghazehe, likening the calorie-free soda to a “phantom umbilical cord,” tethers the twins’ emerging sense of “look at us!” to the consumerist logic of “buy one, get one free.”

  Her subtly allegorical sculptures bring together paired and bizarrely branded

• 

  print December 2018

  “The Un-Heroic Act: Representations of Rape in Contemporary Women’s Art in the U.S.”

  During Supreme Court Justice Brett Kavanaugh’s Senate confirmation hearing, Dr. Christine Blasey Ford testified to how he sexually assaulted her as a high school student. In support of Ford, Artemisia Gentileschi’s vengeful painting Judith Slaying Holofernes, ca. 1620, based on a Biblical story in which a strong-armed Judith and her maidservant behead the titular Assyrian general, was circulated on social media as a meme. Captioned with women’s empowerment hashtags, such as #SlaySisters, the artwork distilled contemporary feminist rage. 

  “The Un-Heroic Act: Representations of Rape in Contemporary

• 

  print November 2018

  Kathy Butterly

  At Ken Price’s 2013 retrospective at the Metropolitan Museum of Art in New York, my companions and I (all full-grown adults) dared each other to reach a finger inside the black openings of his colorful glazed vessels. The voids, so impossibly matte and inky, beckoned a touch to determine if they were real or just an illusion. The ceramics of Kathy Butterly, who counts Price as an influence, are equally seductive to the eyes and hands. But where Price played with depth as a trick, Butterly uses it to expand the amount of painstaking detail in her sensuous pieces.

  For “Thought Presence,” Butterly

• 

  picks October 02, 2018

  Sara Greenberger Rafferty

  Dramatically unfurling down the entryway of this gallery, a thirty-five-foot-long, untitled ink-jet-on-vinyl piece (all works 2018) hangs from grommets, on which Sara Greenberger Rafferty seems to have dumped the contents of her Google Drive. Dotted with rectangular icons ordered roughly by color, the work reveals Rafferty’s preoccupations with various kinds of staging. In it are a number of selfies the artist took in a Dior shirt that pays homage to art historian Linda Nochlin—emblazoned across it is “Why Have There Been No Great Women Artists,” the title of Nochlin’s famous 1971 essay—alongside

• 

  picks September 21, 2018

  Ruby Sky Stiler

  Feminists have made a project of decoupling womanhood from motherhood, even going so far as to denaturalize it. This impulse informs groundbreaking bodies of work, such as Mary Kelly’s Post-Partum Document, 1973–79, a conceptual piece that records the parent-child relationship through various means, such as diary entries and stained diapers. But there are fewer examples of how paternity might be reimagined—even celebrated—through this lens.

  In “Fathers,” Ruby Sky Stiler applies her syncretic method to depicting the intimacies of fatherhood. Her reliefs, grids of painted foamcore panels, make

• 

  print September 2018

  Justine Kurland

  A few years after Justine Kurland started shooting her “Girl Pictures,” 1997–2002, she was dubbed a “girl photographer.” Although the label feels limiting, if not downright misogynistic, Kurland artistically came of age in the 1990s, a decade that celebrated the more renegade aspects of female adolescence. The “Riot Grrrl Manifesto,” published in a zine put out by feminist punk band Bikini Kill in 1991, plainly stated the case for reclaiming the word: “BECAUSE we are angry at a society that tells us Girl = Dumb, Girl = Bad, Girl = Weak.”

  At Mitchell-Innes & Nash, Kurland’s series, exhibited for

• previews September 2018

  NAAMA TSABAR

  The famous guitar smashers of history have traditionally been men: Jimi Hendrix, Pete Townshend, Kurt Cobain. Naama Tsabar first appropriated this macho gesture in a 2014 performance, during which she wielded her instrument like an ax to destroy the stage. Tsabar’s recent sonic sculptures merge the visual language of Minimalism with raw acoustic power. Activated by female-identified performers and audiences, these works question the auratic untouchability of the art object and the gendered conventions of popular music. For “Melody of a Certain Damage” at CCA Tel Aviv—which

• 

  diary May 18, 2018

  She Brakes for Rainbows

  IT’S HARD FOR ME to feel at home at most “gala season” events. For starters, I can’t hold my alcohol. I also start to feel a serious disconnect between my roots—as the Jersey-born offspring of a family of public school teachers—and the way certain sectors of the art world court the one percent. Not to mention the fact that soigné events almost never take place in my neighborhood.

  But Wide Rainbow’s first annual gala on May 14 was the exception to the rule. The nonprofit organization, founded three years ago by Ashley Gail Harris, is a DIY female-empowerment engine providing free after-school arts

• 

  picks February 09, 2018

  Isaac Pool

  “Good sister, bad sister / better burn that dress, sister / scar tissue blood blister / suck upon the dregs, sister.” The lyrics to this Hole song, from their unrelentingly rage-filled 1991 album Pretty on the Inside, are chanted like a spell by the actors in Isaac Pool’s object-play 40 Volume, 2016. The work stars four sculptures on pedestals (moved from the gallery into an adjacent black-box space for the performance’s two-night run). The characters, voiced live by actors, include a robust head of fennel—the diva—and three vases composed of tube socks suggestively encrusted with hair gel. The

• 

  picks January 12, 2018

  Ebecho Muslimova

  It’s one thing for a woman to be nasty; it’s quite another thing for her to be unapologetically fat. A little over a year ago, before the #MeToo movement showed the power of collective voices by calling out sexual abusers, Donald Trump deflected criticism, during the presidential debates, about his misogynist attitudes by throwing Rosie O’Donnell’s body up as a rhetorical shield. Add Rosie to a list of full-figured feminists who are brash, excessive, and unafraid of men’s opinions of their bodies. Also enter Fatebe, the flexible, bug-eyed, ultravoluptuous avatar of the Russian-born artist Ebecho

• 

  picks December 15, 2017

  Françoise Grossen

  In the two years since septuagenarian Swiss-born artist Françoise Grossen mounted her first show here, several institutional exhibitions have positioned her as one of the most inventive fiber artists of her generation. Grossen’s strange, corporeal forms speak to her eclectic training—she studied architecture and textiles in Europe, got an MFA in California, and spent a great deal of time in Africa, observing various craft techniques. This show features twenty works from 1970 to the early 1990s, showcasing the breadth of a practice that, as she describes it, “broke with the wall.”

  Based in New