is a regular contributor to the Brooklyn Rail.
MAR 2017 | ArtSeen
Devoid of emotion or inflection, the speaker calls to mind computers and androids such as HAL from Kubrick’s 2001: A Space Odyssey, Blade Runner’s chief replicant Rachel, or even Data from Star Trek: The Next Generation.
OCT 2017 | ArtSeen
In G.S.F.C. 2.0 (Geometrical Sci-Fi Cyborg), hard- edged geometries filled with solid colors converge with organic lines to create vaguely figurative forms. While these figures might possess an actual leg, they’re denied the legibility of a human framework by the rest of their “bodies,” which are comprised of airy geometries loosely tethered in a kinetic fashion. In the painting G.S.F.C. #2, the form appears to be almost squatting, or hopping, with knees spread wide. The sharply bent knee in G.S.F.C #5 lends the subject a rather balletic quality, while the geometries of G.S.F.C.
MAY 2016 | ArtSeen
One of the first things greeting viewers in Sarah Bramans stellar show at Mitchell-Innes and Nash is half of a white Toyota Celica. Rear fender kissing the ground, stick-straight antennae at a neat 45-degree angle, half a white car points skyward, ready for launch.
NOV 2016 | ArtSeen
About four minutes into Camille Henrot’s short film Grosse Fatigue (2013), a small popup computer window hovers over others in the center of the screen.
MAY 2017 | ArtSeen
Midway through Jimmie Durham’s current retrospective at The Hammer Museum, a 1992 sculpture titled The Guardian (free tickets) offers the following advice to viewers: “May I suggest that we imagine systems in opposition to any concept of opposites?”
APR 2016 | ArtSeen
Here is the scene: in the middle of the space, a giant, untouched Persian rug. Hexagonal patterns in maroons, reds, and blacks across the carpet’s surface area.
JUNE 2016 | ArtSeen
In 2016 we’re trying to make sense of our monuments. Broken monuments, unfaithful monuments.
SEPT 2015 | ArtSeen
Each of the seven paintings in Ruth Root’s most recent show consists of two conjoined parts: 1) a larger angular geometric piece of Plexiglas covered with patterns executed in spray paint and enamel; and 2) a smaller, albeit still sizeable, fabric component also covered with patterns, this time printed digitally onto the fabric.