Courtney Fiske

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


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


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


“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


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


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


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


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


Michele Abeles

47 Canal

May 2013

Michele Abeles’s ink-jet prints emerge through twin operations of building up and flattening out. In the nine compositions on view, Abeles permutes a stock vernacular of images—palm fronds, stippled skin, torn newspaper, a box of Abilify—that… READ ON


Oedipal Complex

Courtney Fiske on three documentaries on Louise Bourgeois

April 2013

“EVERYTHING I DO WAS INSPIRED by my early life,” Louise Bourgeois divulged to Artforum on the occasion of her 1982 retrospective at MoMA, the venue’s first to fete a female artist. The statement, couched in bold cursive beside a photograph … READ ON