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Elizabeth Buhe

Elizabeth Buhe is a critic and art historian based in New York.

Donald Judd: Maker, Baker

Crisp, clean, cool, no-frills, matter-of-fact—these and similar adjectives constitute a familiar lexicon for the work currently on display in Judd, the appropriately tight, monosyllabic title MoMA has given its Donald Judd retrospective, the first in New York in over 30 years.

Leilah Babirye: Ebika Bya ba Kuchu mu Buganda (Kuchu Clans of Buganda) 

Entering Leilah Babirye’s show at Gordon Robichaux feels like walking into a solemn space loaded with gravitas—a regal court of yesteryear or, at least as I imagine it, Brancusi’s studio. This is another way of saying that the 39 wooden and ceramic works and the handful of monotype prints on view here command an extremely powerful sense of presence.

Ellen Lesperance: Velvet Fist

The title’s synecdoche—in which something modestly sized stands for something larger—resonates throughout the exhibition, whose unassuming scale belies the ambition of the work, which extends beyond the museum’s walls and reaches into both the past and the future.

Aliza Shvarts: Purported

Shvarts’s work engages a remarkably capacious set of considerations: the interpersonal and the institutional, the practical and the theoretical, a historical act and its circulation. These concepts expose the systems that structure our societies, revealing their inequity while encouraging us to imagine how our own bodies are already ensnared within them.

Deb Sokolow: Profiles in Leadership // Drawings without words

From anecdotes relayed in “Profiles in Leadership,” we learn, among other things, that David Copperfield has been employed by a political campaign to disappear candidates about to commit verbal self-sabotage, that Vladimir Putin has prepared muffins from the flesh of a shark he single handedly overpowered, and that Fidel Castro categorically evaded women to avoid being poisoned.

Sanam Khatibi: An hour before the Devil fell

The show at PPOW consists of 22 paintings and two wall-bound sculptures (all 2019). Five large paintings depict reposing, peachy-porcelain nudes arranged on shallow, tree-framed outcroppings, surrounded by the detritus of extravagant feasts: dishes loaded with fruit, meticulously-crafted cakes, chalices alight with flames, even an oyster shell full of pearls. This bounty, however, is haunting.

Lily Stockman: Seed, Stone, Mirror, Match

Under deceleration’s magnifying glass, our deliberate politics of self-care is extended, in Stockman’s hands, to the odds and ends that surround us. The artist’s meditation on these circumstances in the Moffett paintings takes her work in a new direction, while still tethering it to her familiar language of softened geometric forms.

Loie Hollowell: Plumb Line

Body is vessel in the nine new paintings by Loie Hollowell that make up Plumb Line, the artist’s debut show with Pace. With a strong, centrally-placed vertical line as her organizing principle, Hollowell delivers human forms distilled into a succinct vocabulary of curved shapes: bisected disks, almonds, and ovals, plus stacked rows of half-circles crowned by a glowing orb.

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The Brooklyn Rail

NOV 2020

All Issues