Critics’ Picks

Jeff Burton, Untitled #229 (at Herb Ritts'), 2007, chromogenic print, 40 x 60".

New York

“Good Morning, Midnight”

Casey Kaplan
121 West 27th Street
July 22–July 31

Taking its title from Jean Rhys’s 1939 novel, which in turn borrowed the first line of a poem by Emily Dickinson, “Good Morning, Midnight” brings together numerous artists whom Los Angeles–based critic Bruce Hainley has championed over the years. The title suggests the chain of allusions, inversions, and transformations that runs through the show, marking both individual works and their engagement with one another. Hanging at the entrance, Roger Hiorns’s steroids-in-glass sculpture provides a witty reflection on Jeff Burton’s photograph of mirrored male bodies; Sturtevant’s porn for plushies completes the ménage. In the next room, any such flamboyance has been drained from Larry Johnson’s Untitled (The Thinking Man’s Judy Garland), 1999–2000, to create a purely conceptual icon for the brainy homosexual: white text on a white background. Another piece by Hiorns, Joy, 2003, leans elegantly against a wall in the gallery’s largest space; Serra’s two-hundred-ton torque would surely look down on this petite steel plank, but the spray of perfume on the middle of its long wrist assures it doesn’t give a damn. Providing a visual throughline to the exhibition are four collages by Leica Dole-Recio, their curves of gold and mauve waxing and waning from room to room.