REVIEWS

/ LEO GOLDSMITH
Jean-Luc Godard, detail of Le Réel (rêverie) (The Real [reverie]), 2004–2006. Courtesy of the artist and Miguel Abreu Gallery, New York.
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Leo Goldsmith

In 2006, French filmmaker and polymath Jean-Luc Godard was commissioned to curate an exhibition at the Centre Pompidou, devising a series of 18 maquettes—nine large, nine small—as a plan for “Collage(s) de France: Archaeology of the Cinema.” The exhibition would link a series of rooms—each with its own title, like... continue reading
Dara Birnbaum’s “Psalm 29(30)”

MARIAN GOODMAN GALLERY, New York

Dara Birnbaum, Psalm 29(30), 2016.
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Leo Goldsmith

Six years in, Syria’s Civil War has been the subject of a vast quantity of information—in the form of user-generated video, reportage, news analysis, social media updates—and yet we seem no nearer to an adequate means of representing it. Representation and resolution are often intertwined: the clarity of a representation,... continue reading
Carolee Schneemann’s “Further Evidence – Exhibit A & B”

P•P•O•W GALLERY AND GALERIE LELONG, New York

Carolee Schneemann, Fresh Blood - A Dream Morphology, 1983/2004.
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Leo Goldsmith

Exploded canvases, split screens and multiple channels, mixed-, multi-, and inter-media: Carolee Schneemann has been clear in her rejection of medium specificity in favor of what one might call medium promiscuity. Since the early 1960s, she has consistently incorporated images (both moving and still) into multimedia environments that include elements... continue reading
Pat O’Neill’s “Let’s Make a Sandwich”

MITCHELL-INNES & NASH, New York

(Left) Pat O’Neill, Safer than Springtime, 1964. (Right) Pat O'Neill, Trouble in the Image, 1996.
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Leo Goldsmith

Los Angeles-based artist Pat O’Neill has been making work for the last 50 years, and yet it’s rarely seen in New York. A key figure in West Coast experimental cinema, O’Neill is probably best known for highly plastic and technically accomplished films like his lysergic 7362 (1967) or his extraordinary... continue reading
Stan VanDerBeek

ANDREA ROSEN GALLERY 2, New York

View of Stan VanDerBeek, Andrea Rosen Gallery 2, New York, 2015.
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Leo Goldsmith

Words pulsate, then bleed into abstraction. Fields of color fragment into pixels or smear into mutating organisms. Swarming text grids explode into chaotic rainbow clouds, blinking dots, stars, and spirals. Snaking orange lines and pointillist textures form strobing mandalas, mosaic embroidery, and Pac Man architecture, tumbling geometries of throbbing color... continue reading

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