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Nina Wolpow

Nina Wolpow is a writer in New York. She is pursuing her MFA in Creative Writing from Columbia University. Her nonfiction work has been published by Vox, Refinery29, BuzzFeed, Teen Vogue, Rolling Stone, and Bon Appétit.

Julia Rommel: Candy Jail

Light purple, the sort of purple that is a touch too confectionary to be called lavender or lilac or violet, the chalk-ish pastel kind that is more often found in the manes of unicorns and the most delicate sunrises, is a color I don’t often encounter as the centerpiece of serious art.

Jaimie Warren: One Moment in Time

Warren’s work is overwhelming, eccentric, outside the bounds of the normal, but it is not crazy. In fact, Warren performs carnivalesque realities no less insane than our own.

BRIC Biennial: Volume III, “The Impossible Possible”

I like a lot of what I saw at the third BRIC Biennial, but I collect articles abandoned on Brooklyn curbs. Human teeth, intact ponytails, the remnants of birthday balloons, a torn copy of Sarah Waters's Tipping the Velvet—these are a few of the objects on view.

This Is Not A Prop

This summer, West (whose estate Zwirner acquired this year) is the inspiration for This Is Not A Prop curated by two 26-year-olds who work at Zwirner: Alec Smyth and Cristina Vere Nicoll. As Smyth puts it, “In a way, [West] embodies the ethos of the gallery, which has always been to show artists that are surprising and exciting and weird and doing something outside of what you would normally think of as art.”

Rachelle Dang: Southern Oceans

A fragmented mural in which pale nymph-like figures gallivant under exotic-seeming trees; life-size copper shipping containers made to look oxidized by the elements; ceramic casts of breadfruit in various stages of ripeness and rot—these are the components of Southern Oceans (2018), a multifaceted and layered installation in Bedford Stuyvesant.

Torkwase Dyson: 1919: Blackwater

A new solo show of work by the New-York-based artist Torkwase Dyson grapples with the historically hostile relationship between the Black body and what is known in contemporary architectural theory as “the built environment.”

Caroline Larsen: Kaleidoscopic & Mathew Zefeldt: Customizable Realities

The point of painting in a digital age is not to rehash what’s already been done, or what a camera or computer can do better, but to twerk reality at the behest of curious, exploratory minds.

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The Brooklyn Rail

NOV 2019

All Issues