Robert Zehnder: Ageless Machine

By Clare Gemima

OCT 2022 | ArtSeen

Robert Zehnder’s new paintings and sculptures all possess a strong visual symbology and psychologic indexicality, evocative of his most recent trip to Europe. Returning with a critical and philosophical attachment to the idea of hidden functions of certain architectures, namely those ecclesiastical in nature, Zehnder’s intrigue into how these ideas can influence one’s own spatiality, both internally and exteriorly, has produced Ageless Machine, the artist’s first solo-exhibition with Mrs.

Discovering Duchamp through the “Fourth Dimension” in 1971

By Linda Dalrymple Henderson

OCT 2022 | Critics Page

In 1970 the Stedelijk Museum’s first major Kazimir Malevich exhibition had revealed his use of “Fourth Dimension” in his titles. And, most importantly, there was a clue in the entry for Duchamp’s 1920 Rotary Glass Plates in the 1968 catalog of the MOMA exhibition The Machine as Seen at the End of the Mechanical Age.

Matthew Ritchie with Jason Rosenfeld

OCT 2022 | Art

Matthew Ritchie’s show, A Garden in the Machine, is at James Cohan at 48 Walker Street through October 15. It includes two series of paintings made in the past year, a suite of ten related drawings, each titled Leaves, a large sculpture, and a film. The artist’s major career survey, A Garden in the Flood, curated by Mark Scala, will open at the Frist Art Museum, Nashville, Tennessee, on November 11. It will also include a collaboration with the composer Hanna Benn and the Fisk Jubilee Singers, with direction from their recently deceased leader, Dr. Paul T. Kwami. This is Ritchie’s first solo show at the gallery.

Seeing Duchamp’s Coffee Mill at the Tate: First Encounter of a Lasting Kind

By Michael Taylor

OCT 2022 | Critics Page

Coffee Mill was of talismanic importance for Duchamp as it initiated his career-long interest in machine imagery and movement, which is seen in later works such as Nude Descending a Staircase, No. 2;