REVIEWS

/ Casey Kaplan
Geoffrey Farmer, Boneyard, 2013.
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Alan Gilbert

If some version of the afterlife exists, and if Aby Warburg manages to find a little peace there, he might be pleased to see Geoffrey Farmer’s “Cut Nothing, Cut Parts, Cut the Whole, Cut the Order of Time” at New York’s Casey Kaplan. During the last few years of his... 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
Simon Starling, Project For A Masquerade (Hiroshima), 2010.
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Tyler Coburn

Simon Starling returns yet again to the career of Henry Moore in Project for a Masquerade (Hiroshima) (2010), currently on view at Casey Kaplan, New York. The film traces the troubled history of the British sculptor’s monument, Atom Piece/Nuclear Energy, from its 1967 installation at the historic site of Chicago... continue reading
Trisha Donnelly at Casey Kaplan Gallery, New York
by

Paddy Johnson

Is a lot of empty space and a couple big slabs of marble enough to unify an exhibition? Almost certainly yes, which is also the problem: it’s too easy to make a show look cohesive when there’s not much in it. For her fourth solo show at Casey Kaplan, Tricia Donnelly sparsely arranged a few stone sculptures to look like relics from the fourth (and relatively empty) dimension.... continue reading

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