Peter Peri
The tropes taken up by Peter Peri, a young British artist, are esoteric (cult objects; the career of his Constructivist grandfather) and unlikely (impossible perspectives by way of M.C. Escher). The…
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Marlo Pascual
Amateurs and the forgotten images they make are the source and subject of Marlo Pascual’s installations. Something of an artists’ artist (she was named a New Artist of the Year in Rob Pruitt’s recen…
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2010
As has been discussed to the point of near-exhaustion, this year's Whitney Biennial of American Art was a stripped-down presentation in tribute to the newfound chastity of our financially- and…
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Art of the Fashion Show
A fashion show generally begins with dead time as people file in, chit-chat, and have their picture taken. A publicist screams or a light is dimmed; men and women assume their hierarchical place in th…
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The Artist’s Secrets
Make the Secrets Productive devotes two rooms primarily to three decades of Joseph Beuys' free-standing sculpture, works that see formal interventions into the minimalist idiom and the vocabulary of…
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Re-Generating the 80s
A caveat given me by David Salle before seeing, Your History is Not Our History, the show of work from the 1980s he co-organized with Richard Phillips: "Journalism creates generalizations, and…
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Mike Nelsons America Is Unhitched
The story of the Airstream is one of fashionable technological innovation bound up with the fantasies of the nuclear family and manifest destiny. Half a century later, the vehicles' skeletons look li…
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Christian Holstad
The title of Christian Holstad’s fifth show at this gallery, “The World’s Gone Beautiful,” referred to Malvina Reynolds’s song about a world that shows its best face only when threatened with extincti…
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Henrik Olesen
This exhibition’s title, “Studio Voltaire Presents Mr. Knife and Mrs. Fork,” ascribes the work to the nonprofit space hosting the show, a choice consistent with Henrik Olesen’s usual evasion of identi…
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Erin Shirreff
It’s a truism that most art shows are experienced primarily via gallery websites, the effect of which is a strange hegemony of secondary—or tertiary—imagery derived from exhibition photography. Workin…
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