Thursday, October 16, 2014

Art in America Print Review/Kate Ericson and Mel Ziegler

According to the U.S. Department of the Interior's National Register of Historic Places, almost every county in the United States has registered at least one locale as a "historic place worthy of preservation." Producing a body of work that often investigated the aesthetic ordinances applied to historic districts, American artists Kate Ericson and Mel Ziegler's collaborative practice lasted for nearly two decades, until Ericson's death in 1995. A recent exhibition at Perrotin comprised a two-floor mini-retrospective of sorts—offering what could be culled from their often temporary, site-specific projects. Alongside such objects as a caravan of toy trucks carrying marble shards and a pile of plywood scraps, the most gallery-friendly works were sculptures featuring the artists' signature sandblasted jars and large-scale drawings that often prefigure or document their public projects.

Monday, September 22, 2014

Art in America print review/Meschac Gaba

Contemporary money trees—cheap, unassuming potted plants recognizable for their braided trunks wrapped with currency—can be found on the countertops of small businesses around the globe. Talismans of success that originated during the Han Dynasty, money trees are installed in the hope of magically inducing financial gain. Beninese artist Meschac Gaba's first solo gallery exhibition in New York, "Exchange Market," was animated with similarly charmed and charged objects whose use, value and meaning are prismatically in flux.

Friday, September 19, 2014

CR Fashion Book/The Story of a Shirt

Zephyr Reading Thursday

I oversaw the redesign and edited the third issue of Zephyr, a newsprint magazine published by SVA's Art Criticism and Writing MFA program. We are having a reading on Thursday.

Tuesday, June 24, 2014

Art in America print review/Klara Kristalova

Klara Kristalova's crackle-glazed stoneware figures reference both traditional porcelain Dresden dolls and their kitschier cousins, Hummels. The Prague-born, Sweden-based artist recently showed 24 new works at Lehmann Maupin and Perrotin. Crudely painted and roughly shaped, Kristalova's sculptures, many the size of a child, play off of the low-brow associations of her medium. In a 2012 filmed interview, Kristalova stated, "Glazed ceramic was a despised material in my education . . . and for me that was good, because I was not into making important art. I wanted to do something different, and more playful, more close to myself."
Read on Art in America online

Thursday, June 19, 2014

Art in America print review/Fred Lonidier

The motto "an injury to one is an injury to all" has been used by the Industrial Workers of the World since the early 1900s. It also seems to underpin San Diego-based artist and union activist Fred Lonidier's seminal work The Health and Safety Game (1976/78). Composed of 26 wall panels and a 20-minute black-and-white video, the installation elaborates upon the job-related medical conditions of workers in various fields. Specifically, it outlines the bureaucratic barbed wire that these laborers—who are portrayed anonymously, identified solely by their injury or illness—had to negotiate to receive health care and monetary compensation.
Read on Art in America online

Monday, April 21, 2014

Friday, February 28, 2014


THIS IMAGE is now sold at the bookstore at LACMA in Los Angeles.
THIS IMAGE is one of the texts included in "Thanks for Writing," curated by Mariam Rahmani at 601Artspace in New York.

Saturday, February 8, 2014

Art in America print review/Reinhard Mucha

The last time Düsseldorf-based Reinhard Mucha had a solo exhibition in New York was in 1998, although he shows more often in Europe. His sculptural installations—rigorously designed and built with the exactitude of an artisan, from materials including found wood, vitrines and railway detritus—always depend heavily on the symbolic. Tellingly, the artist has called the footstool, an object that turns up frequently in his work, "a metaphor illustrating the burden of being an artist." In a 2009 discussion with Helga Meister in Kunstforum International, quoted in English in the literary magazine Cura, he explains: "In the hierarchy of service furniture the footstool is at the bottom. Below there is only the wedge for the front door. This matches approximately the service I am offering as an artist." Mucha's devotion to craftsmanship and aged objects—coupled with his refusal to conform to the contemporary exaltation of ever newer technologies—makes it clear that, for him, eminence exists in that which is most humble. 
Read on Art in America online

Tuesday, January 28, 2014

Art in America online/Deborah Grant

The title of New York-based artist Deborah Grant's new exhibition at New York's Drawing Center, "Christ You Know It Ain't Easy!!," derives from "The Ballad of John and Yoko," a 1969 Beatles song about John Lennon and Yoko Ono, a couple of near-mythic status. Grant's exhibition (through Feb. 28) consists of 32 works in which Grant presents an imagined meeting of another complicated-albeit fictitious-couple: Henri Matisse and a virtually unknown Black American folk artist, Mary A. Bell.

Monday, January 6, 2014

Art in America online/Larry Siegel's Image gallery

"I was 24 years old, a kid, and I had no idea what I was doing," said photographer Larry Siegel, talking to A.i.A. about Image Gallery, which he opened in 1959 and which was the only New York gallery of its time devoted exclusively to exhibiting photography. Image was situated at 100 East 10th St., on the same block that housed the so-called 10th Street galleries. During its three-year run, Siegel, now 79, showed the work of many soon-to-be-famous younger photographers working in the realm of photojournalism, including Steve Schapiro, Enrico Natali and Saul Leiter. The gallery was the first to show the work of Duane Michals, and also gave Gary Winogrand his first solo show.