reviews

  • Cornford & Cross

    In the past, Matthew Cornford and David Cross have ironized their corporatesounding nom de guerre by using a business card that reads “Cornford & Cross: Problems Solved.” “Problems Generated” would be nearer the mark, and their first London solo show (an overdue event, given the scope and ingenuity of their work since 1996) featured eight project proposals their prospective patrons judged too problematic to realize. They include plans to deposit a severed chunk of oil pipeline somewhere in Afghanistan (The Treason of Images, 2001/2002); to erect a section of highway overpass in London’s Green

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  • Marion Coutts

    Chisenhale Gallery

    In her laconic sculpture and video installations, the British artist Marion Coutts mythologizes the mundane. With the insouciance and economy of a professional magician, she makes the one-dimensional multidimensional and transforms stale habit into compelling ritual.

    This is evident in her works of the last few years. Fresh Air, 1998–2000, consists of three Ping-Pong tables shaped and marked with the asymmetrical layout of three London parks; the rules of the game were completely changed, inside became outside, private became public, and the mind wandered away. In Eclipse, 1998, a small garden

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  • Paul Morrison

    aspreyjacques

    Black was everywhere in this show—in the treated film imagery, in the darkened projection space, and in the painting’s bifurcating forms, which promised to bleed off the canvas and onto the surrounding black walls. What Paul Morrison managed, though, was to hold in abeyance any sense that this darkness was unremitting. Instead, he invited viewers to find from within their own experience whatever color there might be in his starkly black-and-white works. A large painting of tree branches in silhouette against a white ground hung in one space, the walls of which had been painted black. In

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