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Erin Yerby


The body gives itself to the visible, to presence, making it something too easily objectified, idolatrized—a tension embedded in the portrait. In her recent exhibition at White Columns, Mexican-born, New York-based painter Aliza Nisenbaum utilizes portraiture to draw out this excessive visibility of the body and what this visibility obscures: namely, the body as place of torsion—a twisting convergence of presence and absence, actuality and dream, thought and flesh.

FRANCESCA DIMATTIO Table Setting and Flower Arranging

Comprising multiple painted vase-like structures, as well as three large-scale paintings, the exhibition plays out a tension-in-contiguity between painterly sculptures and sculptural paintings.


The Brooklyn Rail

JUL-AUG 2020

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