REVIEWS

Eileen Quinlan’s “Constant Comment”

OVERDUIN AND KITE, Los Angeles

Eileen Quinlan, Paul as Poet, 2011.
by

Kevin McGarry

Eileen Quinlan’s second exhibition at Overduin and Kite explores an array of departures from the old tricks of her “Smoke and Mirrors” series (2004–2007): signature photographic still lifes of colored light passing through said materials, capturing all the flecks and blemishes that mar the ethereal compositions with engrossing, analog textures.... continue reading
“The Mystery of Appearance”

HAUNCH OF VENISON, London

Leon Kossoff, Willesden Junction, Summer No.1, 1966.
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Laura McLean-Ferris

Willesden Junction, London, is not a particularly pretty place. It wasn’t in 1966, when Leon Kossoff painted Willesden Junction, Summer No. 1, and it’s not now. Overwhelmingly brown—a sprawling intersection of converging train tracks into a vast expanse of metal, rust, stones, and dirt—it is industrial and unlovely. Kossoff, however,... continue reading
Marcius Galan, Drawing a line, 2011.
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Mariangela Mendez

Drawing is most itself when other than itself. The exhibition “Des(enho)” ventures beyond drawing by locating the very act (its gesture) in the context of a larger domain: mark-making, mapping, transposing, translating. This list of verbs is not accidental; the exhibition renders acts, actions, activities, rather than objects. Rodrigo Moura,... continue reading
Laura Horelli’s “The Terrace”

GALERIE BARBARA WEISS, Berlin

Laura Horelli, The Terrace of European Single Person in Kileleshwa (detail), 2011.
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John Beeson

From the first, Laura Horelli’s exhibition “The Terrace” is a movement backwards; a complex history is laid out for us to enter and reconstruct. Along the wall leading away from the gallery’s entrance is a series of six images and texts entitled Terrace of European Single Person in Kileleshwa (2011),... continue reading
Diane Arbus & August Sander

EDWYNN HOUK GALLERY, Zürich

Agust Sander, Middle Class Children, 1925.
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Quinn Latimer

Up to their knees, they’re identical: laced-up leather boots, pale socks, paler legs, shadow-strewn knees. Then difference begins. On the left, ruffles become a dress. On the right, checked shorts become a white shirt, become a soft bow tie knotted under a boyish face. Soft bangs falling over his forehead,... continue reading
“9 Evenings: Theatre and Engineering”

69TH REGIMENT ARMORY, New York

Deborah Hay, Solo, 1966.
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Robert Smithson

Rearview In the wing mirror of the passenger side of a vehicle, objects are closer than they appear. The texts re-published in the Rearview series are those that we wish to draw attention to perhaps because they reveal certain “blind spots” in contemporary art criticism. Each month, these “found” reviews (indeed,... continue reading

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Friedrich Petzel
Cardi Black Box
Brooklyn Rail
Michael Kon
Deweer
X-TRA
ArtAsiaPacific
Camera Austria
P420
Peres Projects
Spike
galeria nara roesler
GALLERIA MASSIMODELUCA