Zoë Lescaze

  • Ryan Foerster, Universe/Garden, 2018, 12-part suite of unique C-prints, debris, each 14 3⁄4 × 11 3⁄4".

    Ryan Foerster

    Ryan Foerster has a penchant for rescuing rejects, courting accidents, and embracing disasters. When Hurricane Sandy flooded the artist’s home in Brighton Beach, Brooklyn, ravaging the photographs stored in his basement, he exhibited the buckled, bleeding prints as new works. His recent solo show at C L E A R I N G’s uptown branch delivered similarly resourceful, unabashedly imperfect projects. Among them were twelve pieces made with defective photo paper, nine cast-off aluminum printing plates, and a sculpture composed of flotsam found on the beach: a tangled fishnet, a battered soda-can

  • Math Bass, Newz!, 2018, gouache on canvas, 84 x 82". From the series “Newz!,” 2013–.
    picks June 29, 2018

    Math Bass

    Caution. Hazard. Falling rocks. With their flat, clear-cut shapes and bold colors, the paintings of Math Bass recall wordless road signs: dangers distilled to their starkest, most essential forms. What perils or pleasures lie ahead, however, are less easy to decipher. The New York–born, Los Angeles–based artist has coined a style somewhere between representation and abstraction, where communication breaks down.

    But if Bass skewers visual and written languages for their inability to convey certain experiences, she seasons her semiotics with a dash of humor. Several forms—a cadmium-red cone, a

  • Jamian Juliano-Villani, Gone With the Wind, 2018, acrylic on canvas, 72 x 96".
    picks February 02, 2018

    Jamian Juliano-Villani

    The last time Jamian Juliano-Villani staged a show at JTT, the canvases were so big and the gallery so small that viewers had to stand outside to fully see the works: sci-fi visions of sexed-up aliens and blasted moonscapes, both menacing and irreverent, like billboard ads for the apocalypse. This time, the space is bigger, the paintings are smaller and—more importantly—sparer. The restraint that characterizes these enigmatic, economical works marks a shift for the young New Jersey native, who gained early fame for phantasmagoric mash-ups of cartoon figures stretched like Silly Putty, stock

  • Christian Marclay, Extended Phone II, 1994, telephone and plastic tubing, dimensions variable.
    picks September 15, 2017

    Christian Marclay

    As anyone who has ever used a telephone knows, it doesn’t always make communication easier. Here, Christian Marclay teases out the medium’s shortcomings in four works from the 1990s while broaching broader questions of how we attempt to convey meaning to others. Extended Phone II, 1994, involves a black telephone receiver stretched to Seussical proportions. It loop-di-loops around one room, filling the space with coils like an out-of-control garden hose. The effect is funny, but the exaggerated distance between the speaking and listening ends of the receiver underscores the gulf between those

  • View of “Rei Kawakubo / Comme des Garçons,” 2017.
    picks July 07, 2017

    Rei Kawakubo / Comme des Garçons

    Never mind that the dress, with fluffy black feathers bursting from an electric-blue halo, looks as though a giant scrunchie swallowed an ostrich. The piece from Rei Kawakubo’s “Blue Witch” collection, spring/summer 2016, is beautiful. With its opulent folds of fabric engulfing the mannequin, the dress is at once regal, farcical, and otherworldly. The Japanese designer is famous for spoofing traditional forms and subverting the conventional functions of women’s clothing. (This dress lacks armholes, while others sprout enough sleeves for an octopus.) Ever since she launched Comme des Garçons in

  • Marguerite Humeau, HARRY II (BODY), 2017, high-density foam, fiberglass, resin, paint, spray-painted steel, glass, rubber, plastic tanks, artificial human blood, audio equipment, sound, dimensions variable.
    picks June 09, 2017

    Marguerite Humeau

    Dystopian daydreams and arcane myth collide in Marguerite Humeau’s particle accelerator of an exhibition. The French artist probes mass surveillance and modern warfare through sleek new sculptures made of synthetic media, including eight gargantuan polystyrene masks that crowd one room. Their white wrinkled faces are grotesque, pinched and puckered like those of hare-lipped chimpanzees. They grimace, snarl, and stick out their tongues. Behind each mask, a milky-pink sci-fi cylinder emits a pulse. These heartbeats merge with the surge of jet engines in the following room to create a soundscape

  • Marcel Broodthaers, The Rain (Draft for a Text), 1969, 16 mm, black-and-white, silent, 2 minutes.
    picks May 01, 2017

    “Facing the Future: Art in Europe 1945-1968”

    Even as the Great Powers divvied up Europe following World War II, some artists dared to envision a single unified continent. “From now on we must consider all of Europe,” declared one collective of Hungarian artists and writers in 1945. “The New Europe could be . . . a synthesis of East and West.” Their manifesto might as well be the mission statement of this exhibition, a survey of nearly two hundred artworks by approximately 150 artists representing Russia and eighteen European countries. Debunking the simplistic East–West dichotomy through which postwar art is regularly understood, the show

  • Svenja Deininger, untitled, 2016–17, oil on canvas, 75 x 75".
    picks February 24, 2017

    Svenja Deininger

    With their interlocking curves and shards of radiant color, Svenja Deininger’s boldly geometric paintings could be diagrams for modernist heraldry. The compositions are striking, but the fascination and intrigue of these works lie in their uneven surfaces. Some areas are raised while others are recessed down to the initial gessoed surface, evidence of Deininger’s assiduous cycle of adding and removing coats of pigment. Studying the edges of thicker sections, the viewer becomes a geologist, reading a history of sediment and erosion in the strata.

    The artist deftly complicates and contradicts the

  • Jeanette Mundt, Climbing, 2016, oil on panel, steel and brass pipes and fittings, 48 x 105 1/2 x 16''.
    picks March 11, 2016

    Jeanette Mundt

    Mountain ranges and female bodies, with their slopes and crevices, precipitous peaks and valleys, are recurring motifs in Jeanette Mundt’s work, and they anchor this succinct, alluring show, appearing in the two most striking paintings. The Matterhorn, beloved by centuries of artists, is rendered in radioactive shades of cobalt, coral, and teal in Another Double Mountain and the Modern Sofa (all works 2016). And in Climbing, Mundt nods to Henri de Toulouse-Lautrec, copying the nude figure from his painting Crouching Woman with Red Hair, 1897. Both of Mundt’s works are painted on large, upright

  • Otto Piene, “Lichtballete” (Light Ballets), 1963–2013, mixed media, dimensions variable.
    picks February 19, 2016

    Otto Piene

    Tracing Otto Piene’s rhythmic oeuvre, this poetically curated survey draws the viewer upward, elevating us from the earthly to the celestial, body to soul. Smoldering red paintings alive with molten hues flaring against tar-black clouds fill the first room: soot left by solvent set alight. The elemental love of color evident in these blazing crimson canvases distinguishes Piene from the other members of ZERO, the avant-garde group he cofounded in Düsseldorf in 1957. But like his peers, Piene famously pursued means of nontraditional mark-making, from using fire (in the tradition of his mentor

  • Martin Wong, My Fire Guy, 1988, acrylic on canvas, 29 x 36".
    picks November 13, 2015

    Martin Wong

    Gritty and glorious, the Lower East Side of the 1980s and ’90s blazes with bricks and stars in the paintings of Martin Wong. Night skies tattooed with constellations form the backdrops for calico patchworks of tenement buildings rendered in ruddy ochers, browns, grays, gold, and black. Hercules and Hydra arc above the everyday heroes and monsters of the city streets: lovers, junkies, prisoners, poets, fighters, and firemen. Lavishing countless layers of acrylic on every brick that forms this lawless, desperate world, Wong renders each mottled facade in almost carnal detail. The arresting contrast

  • Andrew Masullo, 5811, 2013, oil on canvas, 20 x 24".
    picks October 30, 2015

    Andrew Masullo

    In an art world glutted with gratuitously large abstract painting, a compact canvas can say more than those the size of billboards. Of the twenty pieces in Andrew Masullo’s exuberant exhibition “Recent Paintings,” none measures more than three feet tall, and most are two or less. Their high-keyed Crayola colors and lobed, undulating shapes evoke Matisse cut-outs, but Masullo’s works are deeply concerned with oil paint. His investigation of texture, translucency, and the intimate complexities within a nonobjective realm of loose geometry recalls certain works by Stanley Whitney and Mary Heilmann.