James Glisson

John Gerrard

November 2010

Re-created down to cracks in the walls and missing windows, Cuban School (Community 5th of October), 2010, is a projected digitally animated rendering of the real building in rural Cuba that is named in the work’s title. In presenting a … READ ON


Flat Affect

James Glisson on Stephanie Barber

July 2010

THOUGH EXTREMELY VARIED, the films of Stephanie Barber engage universal themes—time, death, memory, forgetting, frustration. Barber’s films also consider the impossibility of directly engaging these same themes in a media-saturated culture … READ ON


Le Tableau

July 2010

Conceived by artist and curator Joe Fyfe as an antidote to the dominance of New York School abstraction in accounts of mid-twentieth-century painting, this exhibition argues for the continuing relevance of an unruly, dirtier, and at times … READ ON


Dirk Braeckman and Bill Henson

April 2010

With figures surfacing from the glossy black void of his large-format photographs, Bill Henson evokes Caravaggio’s tenebrist paintings; yet such comparisons, if descriptively accurate, miss another, perhaps less-esteemed, referent: Hollywood… READ ON


Sterling Ruby

February 2010

Sterling Ruby’s latest exhibition, “2TRAPS,” comprises two bus-size rectangular pieces. One is a rigid steel security mesh with a fully visible cubic lattice of internal supports, equally a geometric, purely sculptural construction and a … READ ON


Melanie Schiff

September 2009

Melanie Schiff’s new series of photographs are called “narratives” in the gallery’s press materials, yet her pictures lack figures or anthropomorphized objects that might function as characters, much less any obvious sense of duration. The … READ ON


“The End of Analog”

March 2009

Taking a cue from the federally imposed end date to analog TV broadcasts, this exhibition, curated by Eric Fleischauer, offers floor plans of sitcom living rooms, digital photographs of record-album covers, and a glowing, underlit, crystalline… READ ON