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Artblog
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"Mind the Gap," at Kent Fine Art LLC; Brooklyn Rail, February 2012 Mind the Gap, a group exhibition at Kent Fine Art, is rife with framed, cream and gray, rectangular works which anchor unruly neighboring pieces displaying buckled textures, blurred resolution, or smoky graphite diffusion. This deadpan order aesthetically controls the show’s mood of generalized social and political anxiety.
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"In Conversation with Rita Ackermann," The Brooklyn Rail, December 2011/January 2012 Surrounded on all sides by monumental red and blue fluid, figurative forms on both stretched and unstretched canvases, we spoke about her upcoming exhibition, Bakos Rita Ackermann at the Ludwig Múzeum in Budapest, Hungary, November 17, 2011 to February 12, 2012.
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"Cy Twombly: Sculpture," at The Museum of Modern Art in New York City: The Brooklyn Rail, September 2011 Just over a month after the opening of Cy Twombly’s exhibition of sculpture at MoMA, the artist died at age 83. Located in the museum’s fourth floor foyer gallery, the collection overlooks the bustling sculpture garden beyond the exterior glass wall.
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"Savage Beauty," Alexander McQueen at the Metropolitan Museum of Art in New York City; The Brooklyn Rail, July/August 2011 Savage Beauty, the lush, theatrically presented retrospective of Alexander McQueen’s couture design in the Metropolitan Museum of Art’s Contemporary Art Wing, feels heavy with mourning. “One of the greatest talents of his generation,” according to Vogue Editor-in-Chief Anna Wintour, McQueen killed himself at age 40, days after his beloved mother died early in 2010.
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"Something Goin' On & On," Alan Shields at Greenberg Van Doren Gallery in New York City; The Brooklyn Rail, June 2011 Alan Shields’s operative medium is pure color. His passive, infused, or diluted application of paint through tints, prints, stains, and stencils leaves his work vulnerable to the conditions under which it is viewed, bringing to mind the seacoast or a broad expanse of field where the light and weather are in perpetual flux.
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"Objects, Decorative and Functional," Mari Eastman at Cherry and Martin in Los Angeles; The Brooklyn Rail, May 2011 Cherry and Martin is spelled out in compact, white neon letters centered in a long, narrow window set above eye level in a painted brick façade. Driving by the building on South La Cienega Boulevard in West Los Angeles, I think fleetingly that it might be a bar. “Is that the name of a drink? A cherry martini?”
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"Adam Marnie, Tom Thayer and Ruby Sky Stiler," at Derek Eller Gallery and Tracy Williams, Ltd. in New York City, The Brooklyn Rail, February 2011 The beating heart of the three-person exhibit at Derek Eller is Adam Marnie’s larger-than-life, floral bouquet collaged and carved directly into the entrance foyer’s sheetrock. Color Xerox enlargements cut, torn, and glued; flower shapes, negative space, and shadow edges traced and carved out of the wall; and drips of adhesive all form elements of the rhythmic composition.
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"179 Canal/Anyways," at White Columns in New York City: The Brooklyn Rail, December 2010 Margaret Lee organized 179 Canal/Anyways at White Columns as a “non-retrospective” look at 179 Canal, a collaborative wellspring of art invention she nurtured during a 15-month span starting in March 2009.
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"Peeps," "John Currin,"Dorothy Iannone," and "The Female Gaze," in New York City, The Brooklyn Rail, September 2009 Pornography, erotic art, psychoanalysis, and feminism bind together four almost concurrent art exhibitions: Peeps at CUNY’s James Gallery; John Currin: Works on Paper—A Fifteen Year Survey of Women at Andrea Rosen Gallery; Dorothy Iannone: Lioness at The New Museum; and The Female Gaze: Women Look at Women at Cheim & Read.
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"Vector Portraits," by Andrew Bush at Julie Saul and Yossi Milo in New York City; The Brooklyn Rail, May 2009 Andrew Bush's "Vector Portraits" photographs at Yossi Milo and Julie Saul.
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