Drawing

Messy Love: Bob Snead at Isaac Delgado Fine Art Gallery

Bob Snead. Taylor & Kentridge, 2013; oil on panel, 20 x 32 in. Courtesy of the artist, Photo: Bob Snead

Bedfellows, Bob Snead’s exhibition at Isaac Delgado Fine Arts Gallery, is a study of the intimate and quotidian moments in the life of a family. Staring at the computer, folding laundry, sleeping in a chair—these paintings and digital drawings depict friends and family members in poses of recess. All together, Bedfellows is an experiential narrative that, in the words of John Updike, “give[s] the mundane its[.....]

Shifting Spaces: Here Is Where We Jump at El Museo de Barrio

The title of El Museo del Barrio’s biennial exhibit Here Is Where We Jump refers to one of Aesop’s Fables, “The Braggart.” In the tale, a man boasts of an extraordinary jump he once made in Rhodes. He claims witnesses will attest to the jump if the listeners ever visit his home country. Eventually, someone challenges the man to reproduce the jump, saying, “Jump here, jump now.[.....]

Zhang Rui’s One Year at 4A Centre for Contemporary Asian Art

In 2007 young artist Zhang Rui, then newly graduated from the Tianjin Academy of Fine Arts, was one of 1001 Chinese citizens selected by Ai Weiwei through his blog to participate in his project Fairytale for Documenta 12. The experience proved to be a transformative one. Her body of work One Year is showing at Sydney’s 4A Centre for Contemporary Asian Art. Small works, painted with[.....]

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[.....]

AFRICOBRA: Philosophy at the Logan Center

Barbara Jones-Hogu, "Unite," 1968-71; screenprint; 25.5 x 35 in. Courtesy of the artist and Logan Center for the Arts.

The assembly of works by AFRICOBRA (African Commune of Bad Relevant Artists), a collective of African American Chicago-based artists active during the 1960s and 1970s, now on display at the Logan Center for the Arts could fairly be described as a time capsule; it is more important for the moment it captures than for its contents. In addition to this exhibition, titled AFRICOBRA: Philosophy, the collective currently has two other[.....]

The Transcendental Trash of Thomas Lanigan-Schmidt

Thomas Lanigan-Schmidt. The Fountain of Youth (Spritzer Thaw), 1969; Aluminum foil, plastic wrap, pipe cleaner, holographic tape, glitter, staples, mirror, colored marker; 13 x 10 x 9 in. Courtesy of the artist and Pavel Zoubok Gallery, New York.

Thomas Lanigan-Schmidt makes kitsch from the kitchen, using everyday materials such as cellophane, glitter, foil, and Easter-display grass to construct minutely detailed and coded ephemera that sanctify camp, trash, and a kind of queer sentimentality particular to the artist’s experience of the 1970s Hell’s Kitchen scene in New York. Ecce Homo, Pavel Zoubok Gallery’s current three-part exhibition, orbits around this artist’s counter-historical queer aesthetic. On the heels of his extensive[.....]

Enrique Chagoya: Freedom of Expression

Enrique Chagoya. The Pastoral or Arcadian State, Illegal Alien’s Guide to Greater America, 2006; color lithograph. Courtesy of the artist and Shark's Ink. Photo: Kala Art Institute.

Code-switching is the linguist’s term for substituting one language for another in the course of a single conversation. “Oye, Teacher Bean,” a student once told me, “I couldn’t do mi tarea because mi tia was late and I had to watch mi sobrino hasta medianoche.” Notice that even though the sentence ping-pongs between Spanish and English, it’s still grammatically correct. To code switch, you need[.....]