Xin Wang

  • picks November 24, 2013

    William Anastasi

    A recorder plays itself recording an otherwise silent environment (Microphone, 1963) while the murmur of industrial objects—a radiator, a deflated tire, a pneumatic drill—buzz conspicuously from attached speakers (Sound Objects, 1963–65). Foregrounding sound as readymade, these mechanomorphic-looking pieces conjure up Duchamp but their conceptual reckoning was very much at the contemporary edge—Joseph Kosuth’s One and Three Chairs wasn’t due out until 1965. Commencing this important retrospective of William Anastasi’s engagement with sound, these early works showcase the artist’s experimentation

  • picks July 19, 2013

    “A Different Kind of Order: The ICP Triennial”

    “A Different Kind of Order,” the Fourth ICP Triennial, finds itself in a much digitized and image-overloaded world—a state more intensely felt than in any previous installments and made all the more apparent by the show’s default medium specificity. Recognizing the futility of deploying any overarching theory, the curatorial team in this iteration has opted instead to register the increasingly multivalent and networked nature of contemporary image production. Yet in a world where the Internet functions not only as artists’ source and tool but also as a zeitgeist barometer (case in point: Aaron

  • picks May 20, 2013

    Anselm Kiefer

    “Morgenthau Plan” presents paintings and sculptures with a quintessentially Anselm Kiefer–esque repertoire of elegiac imagery molded upon scorched and densely processed surfaces. Here, fifteen large-scale canvases depicting barren expanses strewn with detritus, sparse stalks, and pastel-hued flowers—painted over enlarged photographs of blooming fields near the artist’s studio in southern France—stretch into an immersive continuum. The visual rhetoric of these monumental landscapes, evocative of an ideological past at the core of Kiefer’s critique yet infinitely bound to his psyche, has been