Courtney Fiske

Save the Last Tanz

Courtney Fiske on Chantal Akerman’s Un Jour Pina m’a demandé

January 2014

A BEAT, and then, of course: Who better to make a documentary about Pina Bausch than Chantal Akerman? Her 1976 classic Jeanne Dielman is not just a film but a choreography of the everyday, made manic through the stringency of its rehearsal.… READ ON

FILM

Julien Bismuth

Simone Subal Gallery

January 2014

If modernism’s knell announced medium’s loosening into an infinite elasticity, it never quite consigned the latter to anachronism. Medium, that middling condition between subject and world, lingered like some slouching, sallow houseguest: … READ ON

PICKS

Elaine Reichek

Zach Feuer Gallery

December 2013

Elaine Reichek’s work proceeds through semantic slippage and an incessant collapse of high art into craft. Spanning from 1972 to 1995, this modest retrospective plumbs those structures—mediumistic, discursive, and otherwise—whose constraints… READ ON

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Eileen Quinlan

Miguel Abreu Gallery

November 2013

Eileen Quinlan’s photographs slip between a space-drained illusionism and a shivered sort of abstraction. Her latest series of gelatin silver prints, unframed and identically sized, treat the negative as a substrate to be compromised. Some … READ ON

PICKS

Candid Camera

Courtney Fiske on Ernie Gehr at Light Industry

October 2013

ERNIE GEHR’S CINEMA GROUNDS ITSELF IN DISJUNCTURE. Best known for his 1970 film Serene Velocity, a convulsive portrait of a hallway lit by citrine fluorescents, Gehr mounts an exploration of the camera as an apparatus, its effects arising … READ ON

FILM

“Parasitic Gaps”

Team Gallery | Grand Street

September 2013

That the press release for this show appears in compressed black type, barely contained to the page’s bounds, is fitting. Deftly curated by Team’s director, Miriam Katzeff, “Parasitic Gaps” tasks itself with plumbing language’s ability to at… READ ON

PICKS

Robert Irwin

Whitney Museum of American Art

August 2013

In 1970, Robert Irwin quit his studio and made for the Mojave. Abjuring the canvas’s obdurate frame and the Rorschachability of abstract gesture, the erstwhile painter vowed to create work in response, whether to a particular room or a sight… READ ON

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Off the Grid

Courtney Fiske on Agnes Martin’s Gabriel

August 2013

WHAT THEY WERE ABOUT, Agnes Martin would never quite say. Up close, their surface resolves in iterated lines that skim or settle into the canvas’s tooth; at mid-distance, their right-angled spread becomes a quivering moiré; a few steps further… READ ON

FILM

Against the Grain

Courtney Fiske on Anthony McCall and Andrew Tyndall’s Argument

July 2013

IN SEPTEMBER 1977, Anthony McCall teamed with journalist Andrew Tyndall to make a narrative feature. A transplant to TriBeCa from London, McCall was then best known for his “solid light” films: tracings of simple geometries in space by the … READ ON

FILM

Zilia Sánchez

Artists Space : Exhibitions

June 2013

Zilia Sánchez composes her paintings in a syntax of soft swells and fleshed incurves. Born in pre-Castro Cuba, she moved to New York in 1964, where she remained for nearly a decade before settling in Puerto Rico. Contra the heterodox waxes … READ ON

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