"They seem to be going somewhere, leaving you in a state of questioning, very similar to a film still."
For the past half-century or so, Ed Clark has been making plastic paintings that live up to the name.
It is this immeasurable space between visual belief and betrayal that Thomas Demand mines in his intricate photographs. For his new show at Matthew Marks, Demand combines stills, animations, and sound to consider the textures themselves of experience.
Suters work feels both settled in place and open to the possibility of change. Painted both indoors and outdoors, her canvases are subject to the unstoppable forces of naturehurricanes, flooding, crittersbut do not resist their effects.
These paintings insist on the meditative quality of their content. Truitt intensifies the resonance of these fields of color not by doing away with form and line, but by pushing it to the periphery.
The largest painting in Andy Cahill’s new show spans over thirteen feet wide. In it, an androgynous creature points a finger-gun at a man crawling up an increasingly vertiginous path toward a house already out of reach, lost to the inevitability of one-point perspective.
This exhibition at the Met gathers over 100 of his daguerreotypes, less than a tenth of his total production, focusing on his extensive travels east through the Mediterranean from 1842 to 1845. Though it only occupies a few small galleries of the museums photography wing, the collection is filled with small pictures of a vast geographic scope.
Goya’s prints and Eisenstein’s 35mm films serve as an introduction to Longo’s massive charcoal drawings.
The exhibition foregrounds Crawfords projects in other media (photography, printmaking, and film) alongside the larger scale oil paintings for which he is known.
This generous retrospective traces the development of an extraordinary career in color photography, from the late sixties until Singh’s sudden death from a heart attack in 1999.
Seeing and remembering are at odds. Memoriesif they are to be shared with othersare packaged in a specific way: flat, rectilinear, still. This fact is not contingent on photography; we have a natural tendency to break narratives up into stills.
In this show of nine canvases, all painted in 2018, EJ Hauser mines an ever-shifting vocabulary of form. The language here lies somewhere between literal and mythological, spoken and remembered.
What is most disconcerting about Fixator is what it lacks. The voids between its structural elements seem to weigh more than the solid ceramic and metal structures making up the imaginary body now resident in PS1’s creaky galleries.