print February 2020

Robert Mallary

Renown arrived swiftly to Robert Mallary, then bolted. The Museum of Modern Art in New York featured him in 1961’s “The Art of Assemblage,” then went on to show his junk works in two more group exhibitions that decade. In 1962, the New York World’s Fair commissioned The Cliffhangers, 1963–64, one of his breakthrough tuxedo sculptures: doomy, vaudevillian tableaux featuring suits gleaned from trash heaps, then infused with toxic polyester resin and, before stiffening, torqued into precariously baroque sideshows. Yet by the late ’60s he had pivoted—in part due to the resin’s deleterious health

picks December 06, 2019

Kyung-Me and Harry Gould Harvey IV

Quoth Milton’s Satan: “The mind is its own place and in itself, can make a Heaven of Hell, a Hell of Heaven.” Kyung-Me certainly does the latter. In her sequential suite of exquisitely proportioned black-and-white drawings, Papillon de Nuit I–VII (Butterfly of Night I–VII) (all works 2019), she transforms the chambers of a covetable modernist home—acquisitions include a five-panel byōbu, a shiny baby grand, infinity mirrors flanked by panes of stained glass à la the Prairie School, and a Rothko—into an unsettling, Escherian memory palace, a spatial and narrative jigsaw whose outlier minutiae

print December 2019

Sarah Rapson

Tell me what you want, what you really really want

I’ll tell you what I want, what I really really want.

Sarah Rapson deadpanned a variation of this call-and-response for sixteen minutes in an early audio work, stretching the refrain from this famous Spice Girls anthem on female solidarity into an exasperated mantra. At the entrance to Rapson’s survey at Essex Street, the piece could be heard through a set of headphones while on the wall opposite hung Untitled, a photogravure featuring the title page from a later edition of H. W. Janson’s History of Art (1962), that virtually womanless

print November 2019

Lois Dodd

She finds great company in aloneness. A strip of light beneath a closed door; colors flapping from a clothesline; gray raindrops squiggling down a city window; a snowy, headlit hill; a lunar eclipse. For more than seventy years, Lois Dodd has lent a generous presence to mostly unpeopled views in or near her homes in New York, New Jersey, and midcoastal Maine. Associated with a set of postwar painters including Gretna Campbell, Alex Katz, and Neil Welliver—artists who, amid AbEx and Pop hegemony, courted gentle contrarianism by reengaging landscape painting via airily abstract modes of perception—she

interviews October 21, 2019

Amy Sillman

For “The Shape of Shape,” a rollicking salon-style exhibition drawn from the holdings of New York’s Museum of Modern Art and part of the newly expanded museum’s “Artist’s Choice” series, Amy Sillman has selected around seventy-five works that, regardless of medium, movement, or period, share a fascination with shape. Like MoMA’s newly rehung collection galleries, the installation, which opens today and runs through April 20, 2020, reconstrues modernism through wide-ranging, unlikely juxtapositions. And like Sillman’s own paintings, it is intelligent, risky, and giddily perturbed, brimming with

print October 2019

Andy Mattern

In 1977, Douglas Crimp observed that “while it once seemed that pictures had the function of interpreting reality, it now seems that they have usurped it.” How understated that declaration appears today—with its hedging seemingness—in a world ruled and fueled by images. Crimp wrote the line for the catalogue essay accompanying a modest, generation-making group show he organized at Artists Space in New York, called simply “Pictures” (its title yet another understatement). Crimp’s thought was on my mind in early July, a couple days after his death, when I visited the basement of the Elizabeth

picks September 27, 2019

Carrie Yamaoka

Carrie Yamaoka makes subtle, chancy works about the dead ends of depiction. For this show, the artist, who’s long operated at the junction of photography, sculpture, and painting, digitally transferred a four-year cycle of eighteen photograms begun in 1991—the same year she cofounded the feminist collective fierce pussy with Nancy Brooks Brody, Zoe Leonard, and Joy Episalla. Pinned side by side across the gallery walls and titled Archipelagoes (2019), the twenty-three achromatic, malformed reproductions (five of which were produced this year) array an alphabet of captivity: Yamaoka impressed

interviews September 03, 2019

Elias Sime

Elias Sime is best known for creating scrupulous, large-scale abstractions out of motherboards, keyboards, and circuitry. He acquires much of his material at open-air markets in Addis Ababa, Ethiopia, where he is based and where he cofounded ZOMA Contemporary Art Center in 2002 and Zoma Museum earlier this year with Meskerem Assegued, who has curated many of his exhibitions. (Assegued acted as interpreter for this interview.) “Tightrope,” Sime’s first major museum survey, was organized by Hamilton College’s Wellin Museum of Art in Clinton, New York, and will run through December 8, 2019. It

print September 2019

David Driskell

As a child, David Driskell gathered berries and flowers to help make dyes for the quilts his mother made. These reminders, as they seemed then, of meager living embarrassed him. Paper was scarce, so he drew with charcoal on the family hearth and filled the margins of his minister father’s theology books with cars and houses. Born in 1931 and raised in the foothills of the Blue Ridge Mountains, Driskell soon outpaced what opportunities existed for a black student in segregated Appalachia. In 1949, he arrived at the doorstep of Howard University in Washington, DC, without an application and, as

books July 24, 2019

Speak, Vivian

VIVIAN, BY CHRISTINA HESSELHOLDT, translated by Paul Russell Garrett. Fitzcarraldo Editions, 2019. 186 pages.

SHE SHOT FROM THE HIP—or the heart, or the gut. From a child’s vantage, most often: the better to go unspotted. For Vivian Maier, whose status as one of the twentieth century’s foremost photographers was only recognized a decade ago, the desire for privacy was bound up with the yearning for information: visual, journalistic, human. Or was it? Our knowledge of Maier is patchy. We know that she split her adolescence between France and her native Manhattan, then spent most of her life working

picks May 17, 2019

Rutene Merk

Choose your fighter: Verrocchio’s bronze David, 1473–75, an epicene precursor to Michelangelo’s opus, who stands winsomely over Goliath’s head; or Aki Ross, the valiant protagonist of Hironobu Sakaguchi’s CGI breakthrough Final Fantasy: The Spirit Within (2001). These two prove the most familiar muses in Rutene Merk’s “Sprites,” the Lithuanian painter’s first New York solo show. The parallels between Verrocchio and Sakaguchi eventually cohere: Both creators are revered for their fierce, lifelike rendering of the human figure. Yet in Aki, 2019, and David at Night, 2018, Merk coarsens this realism

interviews May 13, 2019

Forensic Architecture

The Triple-Chaser—a tear gas grenade banned in international warfare but routinely deployed by defense forces against civilians both stateside and abroad—is one of the many weapons manufactured by the Safariland Group, whose CEO, Warren B. Kanders, is the vice chair of the board of the Whitney Museum of American Art. Kanders’s ties to the New York institution have fueled heated protests in the run-up to this year’s Whitney Biennial, which opens May 17, 2019 (more than half of the exhibition’s artists have called for his removal from the board). Among the dissenters is Forensic Architecture, a

print May 2019

Vivian Browne

The masculinity emanating from “Little Men,” 1966–72, a series of paintings by the artist Vivian Browne (1929–1993), is unequivocally toxic. In this exhibition at Ryan Lee Gallery, her subjects—a particularly vicious strain of businessman—stagger, shriek, and contort. They’re also white, and Browne, a supreme colorist, has availed herself of Caucasian flesh’s myriad hideous possibilities: ruddy pinks, contusive purples, jaundiced yellows, pallid grays, and a now-familiar tangerine hue. Whether these overweening barons of industry are in the throes of sexual ecstasy or death was hard to tell.

previews May 2019

FRANK BOWLING

Curated by Elena Crippa and Laura Castagnini

“What am I supposed to be expressing anyway?” wondered Frank Bowling, the Guyana-born British painter, in a 1974 letter to Clement Greenberg, who replied: “I can’t answer any of yr questions about art.” But Bowling already knew that. For six decades, he has endeavored not to answer the question, but to find new ways of asking it, pouring, dripping, and collaging to convey his vivacious, edgeless imagination. Consider the epochal “Map Paintings,” 1967–71, whose lambent, tropical color fields bear the phantom contours of the Southern Hemisphere and the

picks April 12, 2019

Sara Ludy

A pamphlet for “Unearth,” Sara Ludy’s second solo exhibition here, wields the lingua vacua of corporate innovation, inadvertently upping the show’s uncanniness. “We said, let’s experiment, be intuitive, be bold, embracing the unknown,” the artist is quoted as saying. Things click into place when you learn that the exhibition’s showcase material, a metal-glass hybrid dubbed Waken Glass, was developed by Upterior, a startup that partnered with bitforms gallery and Ludy for the show. Waken Glass’s patent, like our own extinction, is pending.

With this medium and a couple of others, Ludy has devised

interviews April 10, 2019

Zalika Azim

In Zalika Azim’s recent work, layering is less an act of concealment than one of exposure. Her first solo exhibition, “In case you should forget to sweep before sunset,” features images that are physically placed atop one another or are superimposed to unlock manifold associations. Broader themes of dispersion, kinship, and survival are interleaved with intimate family histories. Below, the artist discusses images in the home and the limits and leverages of storytelling through photography. The show is on view at Baxter St at the Camera Club of New York through April 13, 2019.

I READ SPECULATIVE

diary March 15, 2019

Into the Echo

THE SHEIKH WAS RUNNING LATE. It was 10 AM—the official opening time of the fourteenth Sharjah Biennial. Although a nice, durable red carpet had been rolled out in front of the Sharjah Art Foundation’s Al Mureijah Square, and a crew of cameramen in dishdashas was on standby, the planefuls of artists, curators, press, gallerists, and junketeers who had descended upon the Emirate last Thursday were told they might as well wander the grounds and see some art. We would be alerted when Sheikh Dr. Sultan bin Muhammed Al Qasimi finally arrived (his daughter and the biennial’s director, Sheikha Hoor Al

picks March 01, 2019

Hilary Berseth

With paper and pencil, Hilary Berseth has drawn in exacting detail life’s less charismatic roadside attractions—rocks, sticks, bones—and fashioned sculptures mistakable for what they depict. Inspired by the scenery of Pennsylvania’s Tohickon Creek, they possess a rugged whimsicality, like a dust-bowl pop-up book. On plinths or suspended by string, the artworks appear parched and brittle, unable to withstand a human sneeze. Behold how the heaped, lichened stones of Cleaved Slates Stacked, 2017–18, attached with tiny notch joints, elude gravity. Peer inside the stippled cave of Model 5, 2012, a

print March 2019

OPENINGS: JULIEN NGUYEN

SOME DECLARE the end of the world; others make new worlds. Julien Nguyen does a bit of both. Shuffling allusions from the Renaissance, anime, and the artist’s own life, his paintings reliably broach the familiar tropes of the powerful. You may remember Executive Function and Executive Solutions, both 2017, his contributions to that year’s riling Whitney Biennial: Subdivided into panels and tondi, they boasted satanic nymphs, skeletons, and nudes while evoking artists like Sandro Botticelli and Giorgio de Chirico—all portrayed as the front page of the New York Times. Here was the paper of record,

print February 2019

“Anna Atkins Refracted: Contemporary Works”

Anna Atkins, the Victorian botanist widely considered the first female photographer, created thousands of cyanotypes depicting white negatives of flora, often seaweed, suspended in atmospheres of Prussian blue. She made the pictures in the service of science, each one a spectral ode to the bounty of life and to what was then an innovative photographic technique. Like those of so many women of the time, Atkins’s breakthroughs fell into obscurity; she was “rediscovered” in the 1980s. The New York Public Library’s exhibition “Anna Atkins Refracted: Contemporary Works”—curated by Joshua Chuang and

Zack Hatfield