reviews

  • John Tremblay

    Richard Telles Fine Art

    Critic Bob Nickas wrote recently that John Tremblay’s Open Plan Living, 1999, a spectacular, almost forty-foot-long painting, “seemed like a statement, and it’s rare to find that these days. Most artists make their statements in interviews, or when they go blab on panels or in art schools, or when they write their press releases. So it feels like an event to walk into a gallery and see that a statement is actually being made by the work itself.” Open Plan Living is indeed a defiant statement, primarily about—well, that’s the crux—painting and utopian communication.

    Tremblay’s newest works, on

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  • Tony Oursler

    New Museum

    It’s a rare body of work that makes the viewer open a mental can of worms, but the broad selection of works in Tony Oursler’s midcareer, almost quarter-century-spanning survey took me in so many directions and so consistently managed to engage, provoke, irritate, entertain, trouble, and seduce me that I’m not sure where to start or how to tidy it all up in words. Babble, a basic element in Oursler’s production, seems the natural reaction to it.

    The exhibition’s title, “Introjection,” is the psychological term for a subconscious process by which images are incorporated into the psyche. What the

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  • Tony Feher

    ACME.

    Like the Minimalists to whom his work nods, Tony Feher uses industrially produced materials (glass, plastic, metal, nylon, polystyrene, rubber) and manipulates them in ways not generally associated with a human touch (stacking, hanging, laying components out in a line or grid). Unlike the Minimalists, however, Feher gravitates toward objects whose first lives were spent in industry and consumer culture (bottles, lightbulbs, plastic bags), and his works betray an openness to human error, randomness, and whim that a good Minimalist would try to suppress. Feher considers the potential of things,

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