House Sutra: From Cape Town to Kathmandu, 2006, presents a schematic image of a house, filled with white lines in a childlike scrawl. A repeated motif in Vivienne Koorland’s paintings, the house floats against a tar-black background, suggesting spatial insecurity and disorientation. That fragmented effect is emphasized by the canvas’s stitched-together surface, atop which are glued scintillating pieces of colored canvas, evenly distributed, evoking flowers or falling snowflakes. As a comforting image of a home built from ruins, it appears to salve an ache; but the reality of dislocation that

In 1993, in an essay reprinted in Frances Stark’s Primer, compiled for the University of Southern California’s recent symposium “On the Future of Art School”—an inspiration for Store’s group show, which included work by Primer contributors Dexter Sinister and Mai Abu ElDahab, among others—Thierry de Duve sketched a pessimistic picture of contemporary art teaching. He argued that it was premised on a poorly understood deconstruction, “a symptom of the disarray of a generation of art teachers who have lived through the [postmodern] crisis of [creative] invention and have never themselves been

Immediately upon entering the site-specific installation Alice Straight to Video, 2007, at the collective Artists Anonymous’s eponymous project space, one was plunged down the rabbit hole. Almost the entire front space of this two-room gallery was filled to the rafters with debris—wooden crates, old fencing, plywood. At one side of this pile of rubbish was a small opening; crouching and mystified, one entered a long tunnel lined with white faux fur, beginning a claustrophobic journey through the innards of the junk heap. Along the way were tiny, colored video screens showing dark, indecipherable