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Amanda Gluibizzi

Amanda Gluibizzi is an art editor at the Rail. An art historian, she is the Co-Director of The New Foundation for Art History.

On Edge(s)

In 2009 the Museum of Modern Art made a major announcement concerning its displays that was dutifully reported by the New York Times: the chief curator of painting and sculpture, Ann Temkin, had decided to remove the frames from the museum’s collection of Abstract Expressionist paintings, thus “freeing” the paintings from the “domestication” of the gallery space.

In Conversation

MICHAEL JOO with Amanda Gluibizzi

Michael Joo speaks with Amanda Gluibizzi about liminal space, the physicality of his performance works, and his scientific research methods.

Christian Marclay

Appearing simultaneously at the 2019 edition of the Venice Biennale and this fall at Paula Cooper Gallery, Christian Marclay’s 48 War Movies (2019) and an accompanying series of woodblock prints called “Screams” (all 2018 or 2019) testify to the strangely complex relationship we have with war and its imagery.

Joanna Pousette-Dart

In her first solo exhibition at Lisson Gallery, Pousette-Dart has included larger-scale paintings alongside vivid 12-inch square gouache and acrylic studies that at first glance look like they mimic the paintings, before going their own ways, and similarly-sized fuzzy sumi ink sketches that have seeped into the weave of their rice paper grounds.

Three Christs, Sleeping Mime, and the Last Supper; Pagan Paradise

Materiality, finish, the artist’s hand or lack thereof, and the imitative potential of sculpture: Ray is, in this installation of his work and its important bronze precedents, presenting a philosophical discussion of sculptural possibility. In his essay, Ray asks, “Does my mime sleep, or does he mime sleep?” and his question is justified: sculpture can only ever mime the real.

Suzanne Bocanegra: Wardrobe Test

Throughout Wardrobe Test, we encounter women trying things on: costumes, other voices, new or different personae. And yet despite, or even through, this garb, we also witness glimpses of what we have to assume or hope to believe is the person within, the compassionate collaborator and mourner, the artist as empath, the woman of faith above all else.

Larry Bell: Still Standing

The best decision Bell has made is to bevel his edges. Throughout, the bevels bisect fields, color, and visitors, acting as zips that direct the eye and project us around the room. Perhaps most important of all, they let Bell’s contours be sharp, soft to the touch but sharper than glass has ever been.

Michael Rakowitz: The invisible enemy should not exist

The visitor enters the gallery and is immediately confronted not by Rakowitz’s recreations of Nimrud’s sculptures but with the backs of their supports. Each of the five panels is displayed in a surround made of wooden two-by-fours, the material recalling nothing so much as shipping or storage crates, the temporary housing of artifacts unearthed (or stolen) from their archaeological environments to be removed to new homes for study or display.

In Conversation

SQUEAK CARNWATH with Amanda Gluibizzi

Carnwath’s large-scale paintings feature her personal vocabulary of faces, vases, candlesticks, sinking ships, blocks of color, and constellations, while placing written messages squarely in front of her viewers. Notably, Carnwath also scrawls the titles of her paintings down the left and right edges of her canvases which she always displays unframed, something I wanted to learn more about.

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The Brooklyn Rail

OCT 2020

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