Resident Evil, Sondra Perry’s first solo institutional exhibition, fills the second-floor gallery of The Kitchen with a handful of video works made in the past year. Each is “immersive” in one way or another, deploying tactics of spatial activation and coercive, embodied viewing to force visitors into visceral engagement with the screens and their troubling content. These strategies of discord and discomfort mirror the works themselves, which center themes of police brutality and other racialized violence, examining how images and narratives of these issues circulate, distort, and abstract in the digital realm.
The first work one encounters in the exhibition is netherrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr 1.0.3 (2016), set into its own tiny black box. In the video, Perry draws a provocative parallel between the “blue screen of death”—the infamous error screen in Windows operating systems—and the “blue wall of silence,” an unwritten oath among police officers not to incriminate one another in cases of excessive force, brutality, or even murder. At one point in the video, footage of Bill Gates and other Microsoft executives dancing on a convention stage is dubbed over with a deadpan, computerized description of the unwritten officer’s code of conduct (perhaps a double entendre with the computer code that later scrolls by). Another passage features images of women killed by police set to the same voice describing the blue error screens in banal terms. Though intentionally ambiguous, the video uses montage to suggest that capitalist systems and their technological agents are intimately connected with, if not responsible for, the violence wrought against black bodies in neoliberal America.
Tucked away in SoHo, New York, The Drawing Center is a small museum founded by Martha Beck in 1977, explicitly dedicated to the medium of drawing. For the last few years, the creative minds behind The Drawing Center’s events and exhibitions have been working towards pushing beyond the traditional understanding of the term drawing, and opening it up to various applications and interpretations. Cecily Brown: Rehearsal, organized by the chief curator of the museum, Claire Gilman, is one such exhibition. It calls the viewer to contemplate the medium of drawing; from its materiality to its role in the artistic process of an acclaimed artist, Cecily Brown, which as a result creates a sense of intimacy throughout.
Brown is a British artist known for her tactual paintings, for which she draws influence ranging from old masters to the expressionism of the 50s. Drawing is a lesser known part of Brown’s practice and has not been seen before in the scale and context of a solo museum exhibition. The works on display inform on Brown’s practice by giving the viewer the opportunity to observe how the artist visits existing drawings again and again, each time unpacking something new until, as she notes, she understands it completely. In a talk that took place in the museum, Brown discussed how her drawings are fairly independent of her painting practice, serving a purpose of their own. The works in Cecily Brown: Rehearsal were selected, among other reasons, so as to accentuate this special role in her overall practice.
CUNY’s James Gallery at The Center for the Humanities ushers in the fall semester with an exhibition based on Alison Knowles’s 1967 conceptual work The House of Dust. The show seeks to encompass the many limbed and generative nature of Knowles’s artwork by showing how it continues to stimulate other artists to explore its themes of translation, permutation, intentionality and inclusivity, bringing to light the work’s enduring relevance.
The House of Dust is a computer generated poem written in the programming language FORTRAN, which generates verses by randomly combining elements from four lists pre-determined by Knowles: each verse consists of four components including, and always beginning with, “a house of,” followed by a location, then a material, and finally a category of inhabitants. The poem repeats after 400 verses. In 1969, based on one of the verses, “A HOUSE OF PLASTIC/ IN A METROPOLIS/ USING NATURAL LIGHT/ INHABITED BY PEOPLE FROM ALL WALKS OF LIFE” Knowles constructed an actual “house” in Chelsea. The house was moved to Burbank, California when she took a teaching position at CalArts in 1970. Knowles also orchestrated several other projects using computer programs, involving students and community members with her house as the nexus.
At the entrance of the exhibition floats Zao Wou-ki’s painting Hommage à Chu Yun—05.05.55 (1955), a large canvas cloaked in fluid patches of startlingly limpid aquamarine, rust, and warm cream. The abstract work appears to conceal something underwater. Perhaps it is the ancient Chinese poet of the title, who, after being exiled, drowned himself in the Miluo River. The concentration of reddish color in the center hints at an object, yet the iridescent ripples make it difficult to identify.
No Limits: Zao Wou-ki, currently on view at the Asia Society Museum, is the artist’s first-ever retrospective in the U.S. Zao (1921-2013) is perhaps best known as the Chinese painter who moved to Paris after World War II, where he worked alongside the French Informel painters, while also maintaining a dialogue with the Abstract Expressionists in New York. Zao was not singular in his global career: many post-war painters enthusiastically communicated with an international network of artists and traveled around the world. The exhibition curators Dr. Melissa Walt, Dr. Ankeney Weitz, and Michelle Yun characterize modern abstract painting as defined by this “dynamic cross-cultural circulation of ideas and images.”
In lock step with a series of cross-country exhibitions showcasing the marginalized work of African American abstract painters (Sam Gilliam at David Kordansky and Norman Lewis at The Pennsylvania Academy of the Fine Arts, to name two) The Studio Museum in Harlem has mounted a much needed, if small, monographic show titled, simply, Alma Thomas (on view July 14 – October 30, 2016). Alongside urgent contemporary debates spotlit by Black Lives Matter, such a recasting of (art) history challenges the hermeticism of academic discourse, art magazine glosses, and white-walled galleries; indeed, a New York Times feature story brought the trend to the attention of a broader public late last year. Timely, even-keeled, and sensitive without descending into hagiography, Alma Thomas presents the paintings of an artist who has emerged as a latter-day star, with her tangerine and carmine Mars Dust featured alongside Elizabeth Murray and Cy Twombly in the Whitney Museum’s inaugural downtown exhibition, and with a sunny mid-1960s circle painting on view in the White House dining room. As such, she exemplifies the latent power of repressed or silenced narratives.
A soprano’s voice echoes through the museum’s quiet halls. Inside the Metropolitan’s main gallery for contemporary art, the singer stands before a large, rapt audience but performs only for one. Moments earlier, she approached an unsuspecting viewer with an offer of the “gift of song”; now accepted, the soprano delivers a moving rendition of a Franz Schubert lied—a short operatic solo derived from German poetry of the late 18th and early 19th centuries—to the chosen visitor seated several yards away. In deference to the intimacy of the performance, onlookers quietly move towards the periphery of the gallery. The visitor, seemingly lost in the soprano’s stirring song, begins to cry. After three brief minutes the lied ends and the palpable bond between performer and visitor is broken. What remains, however, is the memory of an experience that transcended mere recital or performance art to strive for something deeper and more consequential: a meaningful, if fleeting, moment of communion between strangers.
Organized through the Metropolitan Museum’s Concerts and Lecture series, this brief exchange was one of many—each incorporating new vocalists, audiences and one of five different lieder—enacted over the course of ten days in November 2015 as part of Lee Mingwei’s performance art piece Sonic Blossom. The work has been presented several times before, including at museums in Korea, Japan, China, Singapore and, most recently, in the United States at the Museum of Fine Arts, Boston. Yet it strikes a particular cord in New York, a city known for its skepticism, impatience and toughness. New Yorkers have learned from experience to be wary of those approaching them wearing odd clothing with promises of ‘gifts’. Staged elsewhere in Manhattan, say in a local park or subway terminal, the performer would have been met with considerable distrust. But in the cultural setting of the Metropolitan, the only museum in the city to house both a fine art and musical instrument collection, visitors are primed for just this kind of unusual artistic behavior.
What is known as “Armory Week” took place early March in New York. The roughly seven-day-long art extravaganza takes its name from the 1913 Armory Show—America’s first large-scale exhibition of modern art, which took place in the Regiment Armory on Lexington Avenue. Every year, Armory Week encompasses numerous art fairs and events across the city, providing excellent opportunities to not only look at art and meet artists and art world professionals, but also to practice observing the art market and predicting forms it could take in the foreseeable future. On March 6, I attended the Art on Paper Fair. As many will likely admit, time at art shows goes by quickly and is never quite enough. Thus, I focused my visit on new, alternative uses of the paper medium, observing the gamut displayed, speaking with artists and dealers, and gauging the visitors’ reactions.
One thing that became noticeable early on, while walking around the space, was the number of conversations concerning the apparent two-dimensionality of most works exhibited at the fair. Such observations were offered with a tone of disappointment, as though the future of paper, as presented here, had circled back on itself and was, once again, non-sculptural and flat. Despite the public’s generalizations about the prevalence of age-old applications of pencil, ink and paint, this year’s fair was actually marked with works that pushed far beyond tradition.
There were numerous instances of artworks that toyed with both two and three-dimensionality. A fascinating example was found in the offerings of Canadian artist and author Cybèle Young, represented by Forum Gallery, whose works are sculptures trapped in a frame. Elsewhere, Browngrotta gallery exhibited only non-flat works. Of particular note was “Vanishing and Emerging Wall,” 2009, a round textile by Japanese artist Hideho Tanaka woven out of squares of paper, painted with stripes and hung in such a way as to create vertical folds. Similarly, Owen James Gallery exhibited small paper pulp sculptures by Adam Frezza and Terri Chiao. The sculptures’ whimsical colors, glitter, and coral-like structure created a playful atmosphere that made them alluring to fair-visitors of all ages. Overall, encountering works that experimented with unique applications of the paper medium made the whole visit far more lively than one could typically expect of these fairs—like a treasure hunt of art on paper.
To get to the Whitney’s 8th floor exhibit Laura Poitras: Astro Noise, I stood in line for about twenty minutes, taking note in the museum’s glass exterior of my reflection and those of other visitors waiting in line to see the artist’s first solo museum exhibition. I thought about Poitras’s past documentaries, including the Oscar-winning CITIZENFOUR, and wondered how her exhibition would reflect on her chief topic – the United States in the post-9/11 era – in ways that her documentaries could not. Watching my reflection slowly inch forward proved to be a fortuitous entrance to the immersive exhibit, which, according to the program, “asks viewers to actively consider their position and responsibility in the ‘war on terror.’” Indeed, Astro Noise implicates and arranges viewers in “immersive media environments” that compel active looking and embodied contemplation.
I stepped out of the elevators and into the first “immersive media environment” (the program’s reinvention of the word “room”). The space is split in half by a single screen, onto both sides of which are projected videos that respond to 9/11. Titled O’Say Can You See (2001/2016), this two-channel digital video bifurcates the room, a setup that divides viewers into opposing groups that face each other as they face the central screen, as if an audience reflected in a mirror. Playing on side A of the screen are slowed images of the faces of New Yorkers as they look upon the remains of Ground Zero days after the attacks. Here viewers confront, and perhaps even remember firsthand, the emotions of that terrorist event: disbelief, shock, fear. These same feeling could be registered on the faces of viewers looking at the other side of the screen, where uncovered U.S. military interrogation videos of two prisoners in Afghanistan, Said Boujaadia and Salim Hamdam, represent the Bush Administration’s response to the attacks.
Taking a deep breath as I stepped through the entrance doors to the Armory Show, I braced myself for the inevitable feeling of art overload I was about to experience; for me, each booth merges with the next, resulting in a shopping mall vibe that seems anathema to a productive viewing experience. But, let’s face it, this is exactly what an art fair should be, right?
According to Jerry Saltz, a self-proclaimed lover of all things art-related, art fairs aren’t about the art at all. They’re about the people. So he claimed in a talk entitled “LIKE, SWIPE AND DOUBLE TAP: Visual Criticism in the Digital Age,” moderated by Benjamin Genocchio, Executive Director of the Armory Show. Leave it to Saltz, known for never pulling his punches, to alleviate some of the commercial art world ridiculousness … or so I thought. The following is a response to one of the most ludicrous ‘talks’ I’ve attended in a long while. (Disclaimer: Devoted Saltz fans should stop reading now, if only to save themselves the indignation for more important battles, like social media censorship.)
When asked to describe my feelings about art fairs I usually reply with general disdain, laced with stronger feelings of actual disgust. I know many art historians, perched on our intellectual high horses, feel the same way about the overt commodification of art. Such fairs seem to suggest that artworks are best marketed as swank luxury goods or smart financial investments but not cultural treasures. Is this a just assessment? Probably not, given that we are all, even those members of the hallowed academy, proponents of the art market, whether we intend it or not. My morality may also be somewhat compromised for even attending the fair (though I did so on a free day pass; heaven forbid actually paying to go!).
Tucked amidst a spate of current shows featuring work in a particular vein of modernist painting—Stella, Olitski, Noland—Paul Barlow’s paintings, primarily of colorful frames, might seem little more than over-literal riffs on the medium’s ontology: canvas, stretcher bars, paint. And they are, undeniably, all those things, but close scrutiny reveals something else besides.
Blind Spots (on view January 14 – February 20, 2016) at Ana Cristea Gallery is a thirteen-work show of modestly-sized canvases by two painters: British artist Barlow and Norwegian artist Linne Urbye, both of whom are exhibiting in the United States for the first time. Urbye covers her canvases with repeating, often empty, abstract forms—chevrons, overlapping arcs, fleurs-de-lis, quarter-moons—in cool blues, greys, and whites. Often, her paint application discloses a prior composition below, laying bare the material’s twin function as both veil and window while simultaneously marking the support as a palimpsest of gestural maneuvers. These operations entail a certain resistance of vision on the part of the viewer, who must double down to visually excavate the logic of the marks beneath the uppermost layer. Through the interlocking arches, filled in to varying degrees in Untitled (12) (2015) we catch a glimpse of process, and wonder if we are seeing the work in an unfinished state. This transports the viewer from the space of the gallery to the space of the studio, a shift in register from the optics of viewing to the haptics of making. It is Barlow, however, who seizes most productively on the exhibition’s titular blindness as an operative term. This review, then, focuses primarily on his work.