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Erika Rothenberg’s “House of Cards” is as timely now as it was when it was first shown in 1992. In our changing political climate, Rothenberg’s satirical, ironic wit and insightful commentary resonate on multiple levels. Organized by themes, the hand-crafted greeting...
In 2008, Michelle Obama commissioned Mickalene Thomas to paint her official portrait, the first portrait of a First Lady who is a person of color. As a portraitist, Thomas knows that a pose is a performance—a deliberate, affected presentation of the sitter, their...
Allison Miller’s oeuvre is firmly and unequivocally rooted in the painting tradition, and yet is built upon a conviction, evident in her output over the past decade or so, to explore every inch of the possibilities, conditions and inherited clichés of painting. It...
In the darkened gallery, a single row of seats faces a large screen on which a series of images loop. These images run by in rapid succession with all of the characteristic flashes of light, scratches and stuttering of an acetate film. Transitions from one scene to...
In this era of information overkill, one may absorb endless volumes, yet the impact of each tale remains a solitary and private event, each word soaking in, one at a time, to imprint its distinctive mark on one’s being.A somber family legend took root in the mind of...
Even in December, the trees on Delancey Street have a coppery glow. It is not the glow of fall foliage, not on a Lower East Side thoroughfare better known for traffic than for signs of life. At least one gallery has bricked up its glass façade to keep out the sights...
Jordan Sullivan’s “The Divine Nothing” is clearly an indulgence in color and aesthetics, and it isn’t a bad thing. Sullivan’s work is strikingly painterly. The large format C-prints appear more like washes of watercolors than photographs, with their blissfully...
As 2016 winds to a close, a lot of us are looking back on the past year, and (with some trepidation) forward to 2017, and wondering how we managed to arrive at this particular time and place. ‘How could we have missed….?’ – fill in the blank. The short answer is that...
Doug Aitken sings the earth and cosmos electric in a mid-career retrospective that could be a Pick of the Year exhibition. The Geffen space, which has never looked better, was entirely made over for the show – an immersive odyssey to mirror Aitken’s own process with...
“Nkame,” the Belkis Ayón retrospective at the Fowler Museum, comprised of 43 collography prints, is about the Abakuá, an all-male secret society in Havana, formed by a group of slaves from southern Nigeria. However, there is another layer in Ayón’s body of work.The...