REVIEWS

/ WENDY VOGEL
Cassils’s “Monumental”

RONALD FELDMAN GALLERY, New York

Cassils, PISSED, 2017.
by

Wendy Vogel

The practice of Canadian-born, Los Angeles-based artist Cassils expands upon—and queers—a feminist performance-art tradition, molding their transgender masculine physique through rigorous fitness regimens and durational actions. Though in “Monumental,” Cassils’s current New York exhibition, abstraction has entered the artist’s repertoire. Cassils grapples with their political desire to represent transgender lives... continue reading
View of “Every Future has a Price: 30 Years after Infotainment,” Elizabeth Dee, New York, 2016.
by

Wendy Vogel

The 1980s was inaugurated with the 24-hour news cycle: CNN transmitted its first broadcast on January 1, 1980. Five years later, independent curator Anne Livet—in collaboration with Nature Morte gallery founders Alan Belcher and Peter Nagy—organized an exhibition called “Infotainment.” Traveling to several U.S. cities, it featured the work of... continue reading
Manon de Boer, Resonating Surfaces, 2005.
by

Wendy Vogel

The title of the tenth Taipei Biennial, “Gestures and Archives of the Present, Genealogies of the Future,” includes everything but the term hammered throughout the exhibition: history. Curated by Corinne Diserens, this biennial departs from the 2014 edition helmed by Nicolas Bourriaud on the theme of accelerationism. Where Bourriaud’s apocalyptic-yet-seductive... continue reading

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