Category Archives: Reviews

Thursday 05/25 2017
Fold; Don’t Spindle and Mutilate

” … what Green Stripes Event (so perfectly named!) does not look like, at first blush, is a painting; it’s obviously painted, of course—those stripes aren’t woven, didn’t come from nowhere—and has those various things a painting would have, where it to be broken down anatomically—and it is the protrusion, like a compound fracture, of the painting’s support, broken at the top, dangling at the bottom, which gives it both its injurious and closet-ready qualities, although the former is far more important, and keeping with the spirit of the show, than the latter—but it does not sit like a painting, compose itself as a painting should, back straight, belly tight, against the wall, a tidy lie, telling us that it exists in two dimensions … “

Read the rest of my review of Jean Alexander Frater’s solo show, Softer, in New American Paintings

Tuesday 05/23 2017
Painting the Unchecked Pleasures and Unformed Horrors of Childhood

“The figures populating Bruce’s past are abstractions; ciphers for himself, the viewer, whomever. They exist as jaundiced faces—like summer camp soap carvings left in the sun—and flat, creamy planes or, most often, as simple, vibrant lines, exsanguinated silhouettes, emanating in jejune tones from the forest or the side of the frame, squiggling like tube worms from between shoulder blades, practically detached as a soft gray tracing, visage-cum-skyline.”

Read the rest of my review of Kristian Bruce’s solo show at Stuart & Co. in Newcity

Tuesday 05/16 2017
The New Battle Front Is Personal: The ISIS Hostage and the New War Journalism

“Puk Damsgård’s unadorned chronicle of Danish photojournalist Daniel Rye’s capture, confinement and eventual release delivers a lesson as astringent as medicine: in the modern era of irregular warfare, battlefields are no longer demarcated by flags or trenches but by ideology and memory. Beyond bombs and drones and Kalashnikovs, wars are now fought via emotion and media, perception and pressure. The modern front is personal.”

Read the rest of my review in Paste Magazine

Wednesday 04/19 2017
A Cosmological Novel: Michiko Itatani at Linda Warren Projects

… stars on charts, inside of us, outside of the skylights holding in their embrace laughable specks of rock and coagulated gas we named for our deities, which we in turn hold in our hands in the form of globes, globes and models and computers and books, an embrace more intimate and perhaps more important than the stars, for it is a studied one, the mind rapidly expanding, human intelligence and endeavor and hope red shifting in a desperate attempt to keep apace with the galaxy’s bleeding, fleeting edge …

Read the rest of my review of Itatani’s solo show in ARTPULSE

Saturday 04/8 2017
A Predictable Nature: “Feral” Falls Short

Feral’s fatal flaw is that it’s built around a simple but powerful idea: that men—who already rape, kill, beat, threaten, humiliate—simply give in as ferals to this horrifying undercurrent of aggression. The novel had a chance to allow men to see themselves for the threat they can so easily be. What Feral delivers instead is social issue lip service atop a standard issue “end of the world as we know it” warning shot of a story—slight, fast, loud and glancing.”

Read the rest of my review at Paste Magazine

Monday 03/13 2017
Cinema Fatalite: Ben Murray at Moique Meloche

“In Life Review, Ben Murray’s solo show at Monique Meloche Gallery, Chicago, continues the artist’s reconnaissance of the maddeningly amorphous landscape of memory, here pinned to the walls in its most dramatic form. The “life review” is the classic, quasi-paranormal event wherein one’s life flashes before one’s eyes—in totality, crystal-clear—during a near death experience. A fictional trope and indelible fact to those who have experienced them, the life review is memory armed with the exigency of death, its celerity contrary to every little thing we imagine about ourselves—that we are some grand elegy in our total, that we are incapable of reduction to a series of scenes—when in fact we are, of course, nothing but scenes, none ever seen from the same perspective twice, singular in both our mind and the minds of others.”

Read the rest of my review in New American Paintings

Friday 03/3 2017
The Haunting Relevancy of Yoojin Grace-Wuertz’ debut novel

“Even if some of the story beats sound familiar, their placement in Wuertz’s Seoul, where hair gleams “like the belly of a giant tuna” and drinks arrive “one after the other like the next turn on the disco ball” even as American GIs tear families apart and agitators are whisked away in black cars, renders them new.

The novel reveals an exciting place and time, in the catalytic sense, and all the more-so for us as visitors who are surrounded by its echoes—class, sex, race—even now.”

Read the rest of my review of Everything Belongs To Us in Paste Magazine

 

Tuesday 02/14 2017
Water into Glass, Steel into Flesh

In the hall outside the main space, an array of paint cans—actually wood, and liable to tip right over if one bumps them—sit on nightstands, surreal vignettes within and around them (a Hockney scene post-summer, leaves and furniture in a tiny empty pool in a drawer; a potato which wanders the wall like the world’s starchiest spider) suggesting the kind of sleep-deprivation-derived trompe l’oeil one gets in a dawn-lit bedroom after a prolonged coke binge, something just beyond the playfulness of his material alchemy and with the slightest soupçon of strange menace, the uncanny power of trompe l’esprit.

Read the rest of my review of Chris Bradley’s show in Newcity

Tuesday 01/3 2017
Turkey’s Chorus of Discontent

“Tracing modern activists’ ideological lineage back to the famed Young Turks and Young Ottomans, Genç both vivisects modern-day Turkey and grounds it in the country’s past. There are no answers in the book, no tidy, big picture proclamations; the work is rather a snapshot of a nation during a crucial time in today’s political landscape.

Under the Shadow is, in short, both complicated and absolutely necessary.”

Read the rest of my review Kaya Genç’s Under the Shadow in Paste Magazine

Wednesday 12/28 2016
On Blood and Abstraction: Rebecca Morris at Corbett vs Dempsey

” … perfect save a pox, the red of dried blood—it’s the brightest color in the whole room, really, this dried-deoxygenated-but-still-too-fresh blood, each splock with its own idiosyncratic hair style, pili radiating as if from the weakest sun, clumping into constellations, gentle parabolic forms like arched eyebrows, carrying in them a sense of ad-hoc exigency, the kinetic beautiful violence requisite for their application demonstrated in their forms, an abstract take on a passage from a Bret Easton Ellis novel—The bathroom reeks of bleach and disinfectant and the floor is wet and gleaming even though the maid hasn’t started cleaning in here yet; Glamorama, pg. 256—a form of silent violence, an echo of a moment captured in all of its chaos atop a bone white grid, gleaming with gold, surrounded by marble, a porthole into God’s own bathroom…”

Read the rest of my review of Morris’ eponymous solo show in New American Paintings