Courtney Fiske

Nancy Grossman

Michael Rosenfeld Gallery

June 2014

There’s an unsalutary air about Nancy Grossman’s wall-bound assemblages: a sense of impaction or suppurated swell like a beetle squished then left to harden. For all their blunt materiality, her bas-reliefs, produced between 1964 and … READ ON

PICKS

Sherrie Levine

Paula Cooper Gallery | 534 West 21st Street

May 2014

Repetition can act to affirm, to shore up meaning and provide closure: The lecturer reiterates her point to underscore its significance. Yet repetition can also effect the opposite, seriality emptying into beige-bland banality. To repeat in… READ ON

PICKS

Matthew Porter

Invisible-Exports

April 2014

Matthew Porter approaches his photographs as one might a canvas. His abstractions accrue from multiple in-camera exposures of generic still-life ingredients—furniture, fabrics, and sundry bric-a-brac—that the artist composes in front of… READ ON

PICKS

Save the Last Tanz

Courtney Fiske on Chantal Akerman’s Un Jour Pina m’a demandé

January 2014

A BEAT, and then, of course: Who better to make a documentary about Pina Bausch than Chantal Akerman? Her 1976 classic Jeanne Dielman is not just a film but a choreography of the everyday, made manic through the stringency of its rehearsal.… READ ON

FILM

Julien Bismuth

Simone Subal Gallery

January 2014

If modernism’s knell announced medium’s loosening into an infinite elasticity, it never quite consigned the latter to anachronism. Medium, that middling condition between subject and world, lingered like some slouching, sallow houseguest:… READ ON

PICKS

Elaine Reichek

Zach Feuer Gallery

December 2013

Elaine Reichek’s work proceeds through semantic slippage and an incessant collapse of high art into craft. Spanning from 1972 to 1995, this modest retrospective plumbs those structures—mediumistic, discursive, and otherwise—whose … READ ON

PICKS

Eileen Quinlan

Miguel Abreu Gallery

November 2013

Eileen Quinlan’s photographs slip between a space-drained illusionism and a shivered sort of abstraction. Her latest series of gelatin silver prints, unframed and identically sized, treat the negative as a substrate to be compromised. Some… READ ON

PICKS

Candid Camera

Courtney Fiske on Ernie Gehr at Light Industry

October 2013

ERNIE GEHR’S CINEMA GROUNDS ITSELF IN DISJUNCTURE. Best known for his 1970 film Serene Velocity, a convulsive portrait of a hallway lit by citrine fluorescents, Gehr mounts an exploration of the camera as an apparatus, its effects arising… READ ON

FILM

“Parasitic Gaps”

Team Gallery | Grand Street

September 2013

That the press release for this show appears in compressed black type, barely contained to the page’s bounds, is fitting. Deftly curated by Team’s director, Miriam Katzeff, “Parasitic Gaps” tasks itself with plumbing language’s … READ ON

PICKS

Robert Irwin

Whitney Museum of American Art

August 2013

In 1970, Robert Irwin quit his studio and made for the Mojave. Abjuring the canvas’s obdurate frame and the Rorschachability of abstract gesture, the erstwhile painter vowed to create work in response, whether to a particular room or a … READ ON

PICKS