reviews

  • Sarah Morris, SM Outlined (Initials), 2011, household gloss paint on canvas, 84 1/4 x 84 1/4".

    Sarah Morris

    Capitain Petzel

    Halfway through Sarah Morris’s film Points on a Line, 2010, a man signs a credit-card receipt in the Four Seasons restaurant in New York. He’s typical of the establishment’s diners: a wealthy suit who’s probably just enjoyed a decent lunch before heading back to the office for a languid afternoon. But rather than acting as a red flag to class warriors, Morris’s vision of the iconic dining room serves a structural or even architectural purpose, acting as a bridge between two seminal late-modern buildings: Philip Johnson’s Glass House in New Canaan, Connecticut (1949), and Ludwig Mies van der

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  • Boris Mikhailov, Tea Coffee Cappuccino, 2000–10, color photograph, 9 3/4 x 16 1/4". From the series “Tea Coffee Cappuccino,” 2000–10.

    Boris Mikhailov

    Galerie Barbara Weiss

    For more than four decades, Boris Mikhailov has photographed the shifting visual landscape of his native Ukraine, utilizing a range of formal approaches while never fully abandoning the spontaneous, amateur quality of what initially began as a hobby. (He was fired from an engineering job in the late 1960s, when the KGB discovered nude photographs he’d taken of his wife.) In his recent exhibition at Galerie Barbara Weiss—inaugurating the gallery’s impeccable new venue in Kreuzberg—the artist presented two series of works, “Black Archive,” 1968–79, and “Tea Coffee Cappuccino,” 2000–10,

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  • Horst Ademeit, Untitled, 1993, mixed media on Polaroid, 4 1/4 x 3 1/2". From the series Observationsbilder” (Observation Images), 1990–2004.

    Horst Ademeit

    Hamburger Bahnhof

    Born in Cologne in 1937, Horst Ademeit was a trained craftsman who worked odd jobs and lived a significant part of his life in a low-income housing project, ill, paranoid, and immersed in legal proceedings concerning fees that he owed and complaints that he filed. Although he had attended Joseph Beuys’s open-door class at the Kunstakademie Düsseldorf in 1970, Ademeit did not find support for the work that he was producing, and subsequently ceased fine-art training. In fact, the Polaroid photographs, journals, and handwritten notes that comprise Ademeit’s first museum exhibition, curated by Udo

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