Zachary Cahill

  • Left: Rebecca Morris, Untitled (#06-13), 2013, oil on canvas, 87 x 80”. Right: Rebecca Morris, Untitled (#09-13), 2013, oil and spray paint on canvas, 67 x 65”.
    interviews September 06, 2013

    Rebecca Morris

    Los Angeles–based artist Rebecca Morris is known for her paintings and sharp compositional wit. Here, she discusses her approach to abstraction and the impulses behind her upcoming solo exhibition, “Party Cut,” which is on view at Corbett vs. Dempsey in Chicago from September 6 through October 19. Morris’s work is also featured in a solo exhibition, “#18,” at Galerie Barbara Weiss, Berlin, until October 5, 2013.

    CHICAGO IS WHERE I BEGAN as an artist; I had my first solo exhibition at Ten In One Gallery in 1996. The title of my latest show, “Party Cut,” refers to a certain way pizza is cut into

  • View of “Gordon Matta-Clark, Suzanne Harris, Tina Girouard: The 112 Greene Street Years,” 2013.
    picks July 23, 2013

    “Gordon Matta-Clark, Suzanne Harris, Tina Girouard: The 112 Greene Street Years”

    Strip away the thick nostalgia that lards our collective memory of the art scene tied to SoHo in the early 1970s, and the vital attributes of the exhibition “The 112 Greene Street Years” at Rhona Hoffman Gallery shine through with a revelatory freshness. This is in large measure because curator Jessamyn Fiore (the daughter of Gordon Matta-Clark’s widow Jane Crawford) has opted to focus on the collaborative working relationships that existed between Gordon Matta-Clark, Suzanne Harris, and Tina Girouard, thereby keeping faith in the substance from which much of our present-day romanticized mythology

  • Ragnar Kjartansson The Visitors, 2012, HD video, sound, color, 64 minutes. Production still.
    picks March 07, 2013

    Ragnar Kjartansson

    While encountering Ragnar Kjartansson’s “The Visitors,” one cannot help but discern a palpable sense of kinship, reminiscent of the communal bonding that often transpires during artist residencies—a zone not entirely aberrant to this artist’s practice. The exquisite nine-channel video that makes up the entirety of this show and shares a title with it was shot at Rokeby Farm in upstate New York, a bucolic estate gone to seed. Set primarily in the elegant manor house, the film is musical rehearsal–cum–performance art piece that takes place in nine different rooms simultaneously. Each musician

  • Candice Breitz, The Rehearsal, 2012, six-channel video installation, color, sound.
    interviews January 05, 2013

    Candice Breitz

    Candice Breitz is an artist whose practice delves into the nature of identity production through the circuits of mass media. Here she discusses her video trilogy The Woods, which comprises The Audition, The Rehearsal, and The Interview, works that were shot respectively in Los Angeles, Mumbai, and Lagos in 2012. They are on view in “Candice Breitz: The Character” until March 11, 2013 at the Australian Centre for the Moving Image in Melbourne.

    I HOPED THAT THE WOODS, as a title, might evoke the fictional space of fairy tales and folklore, a space in which morals and norms are passed on to children

  • View of “Janice Kerbel,” 2012.
    picks November 14, 2012

    Janice Kerbel

    The work in Janice Kerbel’s first solo exhibition in the United States dances nimbly around the proverbial void. Take, for instance, Cue, 2012, a suite of thirty-six screenprints, divided into three “acts” through which a drama of abstract shapes in gray scale unfolds. The graphic work is derived from Kerbel’s play Kill the Workers!, 2011, which is the subject of illustrations in the exhibition catalogue. Cue is, by way of this displacement, something of a latter-day Kandinsky work, in which floating trapezoids and circles vie for compositional and narrative dominance: an accumulation of symbols

  • Brian Jungen and Duane Linklater, Modest Livelihood, 2012, color film in Super 16 mm transferred to Blu-ray, 50 minutes.
    picks September 04, 2012

    Brian Jungen and Duane Linklater

    Can hunting be hypnotic? Does silence return a sound? What are the political stakes in modalities of landscape and tradition? These are questions posed by Modest Livelihood (2012), a film by Brian Jungen and Duane Linklater premiering at the Walter Philips Galley as part of the section of Documenta 13 taking place in Banff. The film’s title references the 1999 Marshall decision by the Supreme Court of Canada, which upheld an over two-hundred-year-old treaty that allowed First Nations peoples to fish and hunt on traditional territories so as to make a “moderate livelihood” but pointedly restricted

  • Left: Cover of Jill Magid’s Failed States (2012). Right: Jill Magid, Failed States: My 1993 Mercedes station wagon, armored to B4 Level, parked at the Texas State Capitol, 2012. Installation view.
    interviews May 25, 2012

    Jill Magid

    For the 2012 Bucharest Biennale, artist Jill Magid will exhibit her novella Failed States, which chronicles her experiences as she trained in 2010 to be an embedded journalist in Afghanistan as well being witness to a shooting at the Texas state capitol building that same year. An interdisciplinary artist who engages with institutional structures and notions of intimacy, attempting to materialize phenomena like secrets and risk, Magid’s work encompasses performance, prints, sculpture, video, and writing. The biennale is on view from May 25 to July 22, 2012.


  • Molly Zuckerman-Hartung, Venomous, with four pairs of arms, 2008–11, oil, collage, glitter, and wire on panel, 19 x 23”.
    picks February 28, 2012

    Molly Zuckerman-Hartung

    With the literally downcast and well-nigh comic gesture of adhering vinyl signage to the floor of her latest exhibition, “Negative Joy,” Molly Zuckerman-Hartung announces a paradigmatic shift in her work with abstract painting. The totality of works presented convincingly bring together her interests in writing, critical theory, feminism, punk aesthetics, and sexuality—concerns that have previously only been adjacent to her investigations into abstraction. In several paintings, notably Venomous, with Four Pairs of Arms, 2008–11, the artist has introduced elements of collaged and painted-over

  • Sharon Hayes, Parole, 2010, still from HD single-channel video, 36  minutes.
    picks January 24, 2012

    Sharon Hayes

    Love, like politics, longs to speak through us, and we, reciprocally, long to be heard and to speak: to feel as though on some basic level our hopes, fears, and desires register somewhere amid the forces that bind us to history and to one another. Sharon Hayes’s work negotiates this territory while effectively disrupting the amalgamation of public and private identities. Her practice affords us a pause to reflect on the meaning of the classic feminist slogan “The personal is political”—both in a general sense and also, more specifically, in relation to LGBT rights today.

    In Hayes’s solo exhibition

  • Left: Tania Bruguera, Awareness Ribbon for Immigrant Respect Campaign, 2011. Right: First public reading of the Migrant Manifesto at the United Nations Student Conference on Human Rights, December 2, 2011.
    interviews December 06, 2011

    Tania Bruguera

    Tania Bruguera is an artist whose work explores the role art can play in daily political life. For the past year she has worked with Creative Time and the Queens Museum of Art on her project Immigrant Movement International, which seeks to redefine the immigrant as a global citizen and to stimulate artists to create work that can be actively implemented into social, political, and scientific issues. As part of her project, Bruguera has planned a worldwide open call for artists’ actions to take place at 2 PM on December 18th, designated International Migrants Day by the United Nations.


  • Jesse McLean, Trust Falls, 2011, still from a color video, 10 minutes 8 seconds.
    picks November 19, 2011

    Jesse McLean

    To suspend disbelief can be a frightening proposition, for the act forfeits prescribed boundaries of control. In her first solo exhibition in New York, “Trust Falls” at Interstate Projects, Jesse McLean puts considerable pressure on the structures that subtend our belief systems through operations that shuttle between the documentary and the purely pictorial.

    Working in a vein that could be considered picturesque, Remote (all works cited, 2011), the first of two video installations encountered by viewers, draws liberally from the tropes of the horror-film genre. Nearly every moment of it is taut

  • Guillaume Leblon, Down, South (detail), 2011, 36 x 65 x 6”.
    picks September 03, 2011

    “The Great Poor Farm Experiment III”

    Something about summer grips the American psyche with an almost unbridled wanderlust, an urge to escape the familiar. The contemporary art set would be hard pressed to find a destination that requites this desire with such élan as the Poor Farm. Located in rural Manawa, Wisconsin, and initiated three years ago by artists Michelle Grabner and Brad Killam, the project has opened up an alternative model for thinking about the way art is produced. The Poor Farm’s programming and exhibition strategies foster a unique type of camaraderie, mobilizing not simply a DIY approach but a deep investment in