• Focus: Gary Hill

    The Museum of Contemporary Art (MOCA)

    Enchantment is the province of the image, and the image is never more enchanting than when it is unmoored, hovering in the indeterminate realm of fascination. In Gary Hill’s Between Cinema and a Hard Place, 1991, video monitors with their outer casings removed punctuate the dimly lit space like volcanic debris. Pastoral images move across the disembodied screens, as magical as the Romantic landscapes believers conjure from such tortured stones. The spoken text is from Heidegger. A fragment: “When the word is called the mouth’s flower and its blossom, we hear the sound of language rising like

    Read more
  • Tom Knechtel

    Rosamund Felsen Gallery

    Composed with an ardor that masquerades as cool dispassion, Tom Knechtel’s new multipaneled paintings are luxuriant, operatic scenarios of love and yearning. Along with the large pastel and conté “portraits” of animals shown here, these paintings portray a phantasmagoric netherworld that at first appears cacophonous but is ultimately compositionally as well as emotionally resolved; these tales of gay eroticism are driven in equal parts by reason and desire.

    Although the two large paintings—Servant of Two Masters 1993–94, and The Flood, 1993–94—are not composed with the grand rhetorical gestures

    Read more
  • Toba Khedoori

    Regen Projects

    Toba Khedoori’s work is located in the gap between opposing strains of Modernism, between the optical and the constructed, the sublimated and the desublimated, the horizontal and the vertical, the floor and the wall. In her first solo exhibition, the artist presented three immense paintings on paper, each constructed of three panels stapled together and to the wall, which they nearly covered. These works are created in and marked by two distinct stages of production. Khedoori begins on the floor, melting wax onto the paper and then sponging it across in thin translucent layers; she then raises

    Read more