REVIEWS

/ TYLER COBURN
View of Paul Laffoley’s “The Force Structure of the Mystical Experience,” Kent Fine Art, New York, 2015.
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Tyler Coburn

The past decade has seen a shift in art’s center/periphery model, as so-called “Outsider Art” gains both curatorial and market visibility. Yet far from losing its particularity, as David Maclagan notes in a 2012 frieze roundtable, Outsider Art risks becoming “a prospective concept, continually enlarging itself, not least because of... continue reading
View of Myfanwy MacLeod, “Tell Her Nothing She Tells All,” Catriona Jeffries, Vancouver, 2015.
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Tyler Coburn

Shopfront esoterica and modernist sculpture rub shoulders in “Tell Her Nothing She Tells All,” Myfanwy MacLeod’s current exhibition at Catriona Jeffries, Vancouver. Borrowing its title from a slogan common to psychic shops, the show continues MacLeod’s interest in using pop and vernacular languages to, as she puts it, “speak to... continue reading
Ann Böttcher, Transit Portal (The War Museum/Svinøya, Svolvær, Lofoten, NO), 2013.
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Tyler Coburn

At one point in his 1960 book, Crowds and Power, Elias Canetti surveys “the symbology of nation states.”  The English, he writes, see themselves as captains surrounded by sea; the Swiss are a single body linked beneath mountain peaks. Germans, in turn, assume symbolic form as an army, which Canetti... continue reading
View of Hong Seung-Hye’s “Reminiscence,” K2, Seoul, 2014. (Foreground) Hong Seung-Hye, On & Off, 2014.
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Tyler Coburn

Hong Seung Hye’s sixth solo exhibition at Kukje Gallery is a retrospective, after a fashion. Arrayed around K2—one of the Seoul gallery’s spaces—are prints, sculptures, and furniture that co-opt the titles and forms of her earlier works. The stainless steel structure in On & Off (all works 2014), for example,... continue reading
Liam Gillick and Louise Lawler

CASEY KAPLAN, New York

(Ceiling) Liam Gillick, Övningskörning (Driving Practice Parts 1 - 30) (detail), 2004. (Wall) Louise Lawler, Chicago (placed and pulled) (detail), 2011/2012/2013.
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Tyler Coburn

In their current exhibition at Casey Kaplan, Liam Gillick and Louise Lawler look backwards and askance, mining their archives for oblique portraits of the museum and factory floors, fast inclining towards abstraction. Gillick has periodically advocated for a methodology that functions as a “critical double” and “parallel structure” to a... continue reading
New York Gallery Round up

CLEARING / LAUREL GITLEN / MACCARONE / HAUSER & WIRTH, New York

View of Lili Reynaud-Dewar’s “I AM INTACT AND I DON'T CARE,” CLEARING, New York, 2013.
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Tyler Coburn

For the entirety of the year, Lili Reynaud-Dewar will only make and exhibit bedrooms. Her current exhibition at CLEARING, New York, contains the requisite furniture, though the French artist seems less inclined to follow in the theatricality of Claes Oldenburg’s Bedroom Ensemble (1964) than to meditate on the conditions necessitating... continue reading

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ARTIST

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X-TRA
sp-arte
Vitamin creative space
The Third Line
Blum&Poe
Luisa Strina
Camera Austria
galeria nara roesler
ArtAsiaPacific
Friedrich Petzel
Gallery Ernst Hilger
Afterimage
Michael Kon