new-york

Carissa Rodriguez, It’s Symptomatic/What Would Edith Say?, 2013, permanent ink marker on ink-jet print mounted on Plexiglas, wood brace, 60 x 35 1/2". From “Looking Back: The 8th White Columns Annual.”

“Looking Back: The 8th White Columns Annual”

White Columns

Carissa Rodriguez, It’s Symptomatic/What Would Edith Say?, 2013, permanent ink marker on ink-jet print mounted on Plexiglas, wood brace, 60 x 35 1/2". From “Looking Back: The 8th White Columns Annual.”

In the eight years since its inception, the White Columns Annual has emerged as one of the more anticipated events of the New York art calendar. The premise—a curator’s selection of artworks on view in the city in the year preceding the show’s opening—reliably yields a specific kind of exhibition, one that tends to be vaguely nostalgic and introspective, less a presentation of art objects than a display of semipersonal keepsakes or aide-mémoire. This year’s edition was organized by Pati Hertling, a lawyer and curator known for, among other endeavors, the now defunct but fondly remembered salon-cum–performance series Evas Arche und der Feminist. She did a lot with the small space: The forty-two works were diminutive and precisely installed. The selections were varied and rich. Readings, performances, and screenings occurred periodically throughout the show’s run. There

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