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Hannah Sage Kay
Hannah Sage Kay is a contributor to the Brooklyn Rail.
Take Me (I’m Yours)
By Hannah Sage KayTake Me (I’m Yours) presents the work of over forty artists, all of whom challenge the time-honored relationship of distance and deference established between art-object and viewer.
Doug Wheeler PSAD Synthetic Desert
By Hannah Sage KaySounds of life fade away as you, along with four museumgoers and one museum guard, pass through three successive off-white chambers separating the Guggenheim’s rotunda from Doug Wheeler’s PSAD Synthetic Desert in the topmost tower gallery.
Klammern aus denen Blätter Sprießen
By Hannah Sage KayCapitalist realism and the many ills it diagnoses are explored in Klammern aus denen Blätter Spriessen (Brackets from which Leaves Sprout), a group show at Hunter Shaw Fine Art in Los Angeles featuring work by Colleen Hargaden, Filip Kostic, Yein Lee, Andrew Rutherdale, Jonas Schoenberg, and a text by Steph Holl-Trieu.
Anna Uddenberg: Continental Breakfast
By Hannah Sage KayDescending the stairs and dirty brown hallway to the two-room Upper East Side basement dwelling that is Meredith Rosen Gallery engenders an air of willing abjection before even entering Anna Uddenberg’s solo exhibition, Continental Breakfast, that features three pseudo-functional contraptions in a white-walled, blue-carpeted, drop ceiling-adorned space with florescent lights that feels like the prelude to a high-class murder.
Gary Simmons: Public Enemy
By Hannah Sage KayFor Gary Simmons, who observed the vast disconnect between the political nature of hip hop and the contemporary, predominantly abstract, art of the 1980s, the union of these two modalities engendered an artistic language that could speak simultaneously to multiple publics. Neither didactic nor illustrative, but rather legible and generative, Simmons’s work prompts viewers through subtly affective clues to examine their relationship to those symbols from popular culture that he re-forges into biting social commentary.
Manuel Alejandro Rodríguez-Delgado: Porvenir/Portátil
By Hannah Sage KayAn exhibition of seven sci-fi assemblages made by Manuel Alejandro Rodríguez-Delgado from repurposed materials which, though undergirded by a general memento-ization of home and family, serve as prototypes for the cultivation and sustainment of life on an inhospitable Earth or extraterrestrial environment.
Jeff Weber: Image Storage Containers
By Hannah Sage KaySince 1994, Edward Steichen’s landmark exhibition The Family of Man has been on display at Clervaux Castle—an outpost of the Centre national de l'audiovisuel (CNA)—in northern Luxembourg. Between 2011 and 2013, these works underwent a campaign of conservation treatments that Luxembourger photographer Jeff Weber was invited to document.
Louise Lawler: LIGHTS OFF, AFTER HOURS, IN THE DARK
By Hannah Sage KayAn homage, a funerary march, a quiet celebration: Louise Lawler’s final exhibition at Metro Pictures, which will permanently shutter its doors in the coming months, resounds with a distinct nostalgia.
Doug Wheeler: PSAD Synthetic Desert III
By Hannah Sage KaySounds of life fade away as you, along with four museumgoers and one museum guard, pass through three successive off-white chambers separating the Guggenheim’s rotunda from Doug Wheeler’s PSAD Synthetic Desert III in the topmost tower gallery.
Madeline Hollander: Flatwing
By Hannah Sage KayBy choosing the rather doomed crickets as her subject, Hollander’s Flatwing highlights the enormity of an impact that can be brought about by even the smallest of changes, thus emphasizing the precarity of our present environmental situation and the intensely choreographed nature of the world around us.
MIKE KELLEY:
Kandors 1999-2011
By Hannah Sage Kay
By magnifying the stylistic, architectural, and compositional inconsistencies present within the original comic frames, Kelley highlights the vagaries and mythologies of memory—the tendency to forget and invent a (new) past.
Lynn Hershman Leeson: Twisted
By Hannah Sage KayTwisted is the 80-year-old artist’s first ever solo museum exhibition in New York City—despite a career marked by invisibility (whether purposeful or socially enforced), Hershman Leeson has only gained visibility with time.
Stories of Almost Everyone
By Hannah Sage KayLegibility varies greatly in the work of over thirty international artists exhibited in Stories of Almost Everyone at the Hammer Museum in Los Angeles.
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