Elspeth Walker

From this Author

David Altmejd: Juices at Andrea Rosen Gallery

David Altmejd. The Flux and the Puddle, 2014; Plexiglas, quartz, polystyrene, expandable foam, epoxy clay, epoxy gel, resin, synthetic hair, clothing, leather shoes, thread, mirror, plaster, acrylic paint, latex paint, metal wire, glass eyes, sequin, ceramic, synthetic flowers, synthetic branches, glue, gold, feathers, steel, coconuts, aqua resin, burlap, lighting system including fluorescent lights, Sharpie ink, wood; 129 x 252 x 281 inches. Courtesy of the artist and Andrea Rosen Gallery.

In the main space of Andrea Rosen Gallery, David Altmejd’s gridded plastic network The Flux and the Puddle forms a labyrinthine rectangle—a wrinkle in time. In an homage to science and metaphysics, behind a network of clear vitrines, a series of human-animal hybrids construct themselves out of resin, epoxy, and clay, morphing in and out of candied fruits as harbingers of a kind of alternate evolutionary[.....]

Alex Prager: A Face in the Crowd at Lehmann Maupin

Alex Prager. Face in the Crowd, 2013; installation view, Lehmann Maupin, New York City. Courtesy of the artist and Lehmann Maupin.

Alex Prager’s first exhibition at Lehmann Maupin makes a blood pact with the myth of cinema. The gallery’s downtown location hosts large-format stills from Prager’s newest film, A Face in the Crowd, alongside highly staged photographs taken from slightly different angles than those represented in the film. Lehmann Maupin’s Chelsea gallery features more of these beautifully rendered, high-quality stills, as well as a viewing room[.....]

Yayoi Kusama: I Who Have Arrived in Heaven at David Zwirner

Yayoi Kusama. Manhattan Suicide Addict, 2010-present; Video projection and mirrors; overall dimensions vary with each installation. Courtesy of the artist and David Zwirner.

Still working in feverish catharsis at the age of 82, Yayoi Kusama is Japan’s most famous living artist. Yet in the United States she has only recently received a slice of the recognition that her expansive body of work and visionary approach deserve. Following a critically acclaimed retrospective at the Whitney last year, Kusama was picked up by David Zwirner in early 2013. For her[.....]

Chris Burden: Extreme Measures at the New Museum

Chris Burden. Documentation of Selected Works 1971-1974 (film still), 1971-75. SD Video, color and black and white, sound. 34:38 min. Courtesy of The New Museum.

Chris Burden is one of the legendary giants of performance art. In his seminal body pieces from the early 1970s, he orchestrated a series of daredevil brutalities and tests of the body’s resilience. Burden has had a more prolonged career, however, as a large-scale installation artist who masterminds feats of engineering that seem divorced from the body: scaled-down replicas of major bridges, a giant scale[.....]

Wynne Greenwood: More Heads at Soloway

Wynne Greenwood. Pink Head, 2013; ceramic and acrylic paint; dimensions variable. Courtesy of the artist and Soloway.

In the mid-2000s, Wynne Greenwood‘s video persona sparked an adolescent idolatry in me that really started everything. In Tracey + The Plastics, Greenwood’s three-person electro-pop band, she played all the characters, performing live shows in conversation with pre-recorded projections of herself. Watching Greenwood essentially talk to herself through Tracy, Nikki, and Cola, I was delivered a vision of the millennial queer future in which we[.....]

Pattern Recognition at MoCADA

Pattern Recognition, currently on view at Brooklyn’s Museum of Contemporary African Diasporan Arts, focuses primarily on the paradox of explaining abstract painting. Though designed as a straightforward, contemporary group show featuring new work from established artists, Pattern Recognition must be viewed within the context of a museum whose focus is on community dialogue and education. The hand of Dexter Wimberly, the independent curator behind the[.....]

Formal Collapse: No Name at On Stellar Rays

(From left to right) Michael Mahalchick. Flag, 2013. Newspaper, bacon fat, pigment, brushes, tacks, Savarin coffee can; 43 x 78 x 10 in. Susan Collins. Long Fallen Wide, 2013. Poplar, tulipwood, maple, beech, white holly, crushed malachite, beeswax, oxidized silver, white gold, bronze, garnet, amber; 71 x 5 x 5 in. Shamus Clisset, SWASS (Long Charm), 2012. C-print; 80 x 56 1/2 in. Nathaniel Robinson. Heap, 2013. Pigmented polyurethane resin, acrylic paint; dimensions variable. Bayard. President Balances National Budgie, 2008. Mohair; dimensions variable. Sterling Allen. Untitled, 2013. Ribbons, pushpins; dimensions variable. Courtesy of the artists and On Stellar Rays.

No Name, the group show currently on view at Lower East Side gallery On Stellar Rays, is a theory-based project that develops a collaborative scene of  “gestures, memories and detritus.” The show presents a collection of objects that are incoherent, elusive, and laden with a mysterious personal logic. The work demonstrates a strong theoretical basis, drawing primarily from Judith/Jack Halberstam’s advocation of failure as a[.....]