criticismExhibitions
 
Munro Galloway, 65” x 47.5” (What We Talk About When We Talk About Donuts), 2014. Oil, acrylic and inkjet on canvas, 65 x 47 1/2 inches. Photograph by John Berens,  courtesy of the artist and Soloway Gallery.
Galloway show’s his head-hand coordination. ...
 
Samuel Fosso, Le chef qui a vendu l’Afrique aux colons, 1997. C-print, 101 x 101 cm. Courtesy of the Walther Collection.
Fosso challenges visions of African identity through self-portraiture. ...
 
Josh Dorman, Memento Mori (detail), 2014. Ink, acrylic and antique paper on two panels, 56 x 120 inches. Courtesy of the artist and Ryan Lee Gallery.
Geological-, biological-, and mechanical-history paintings as collage. ...
 


Fran Siegel, detail of Navigation, 2010-2011, colored pencil, ink, and cyanotype on cut and folded papers. 116 x 116 x 4 inches. Courtesy of the artist and Lesley Heller Workspace.

Mapping the City: Fran Siegel at Lesley Heller Workspace


Glimpses of anonymous buildings, vacant lots, parking lots, and the distant mountains


Jana Winderen, Disco Bay, 2007, field photograph, Greenland. Courtesy of the artist.

Imperfect Pitch: In Search of Sound at MoMA


The museum’s first show dedicated to sound art is up through Nov 3


David Hammons, Spade (Power to the Spade),1969, Body print, pigment, and mixed media on paper, 53 1/4 x 35 1/4 inches. Collection of Jack and Connie Tilton, New York. On view at Grey Art Gallery, NYU.

Radical Bodies at Grey Art Gallery


A two-part exhibition tells the story of black performance art in the 20th century


Bjorn Copeland, Remnant Screen IV, 2013. Courtesy of Jack Hanley Gallery, New York

Failing Better: Bjorn Copeland at Jack Hanley


“a Bushwick flaneurial revelling in oddball sidewalk finds”


William Kentridge, Whichever Page You Open, 2013. Drawing, India ink on Craggs Universal Technological Dictionary, 1826, 80-3/4 x 82-5/8 inches. Courtesy of Marian Goodman Gallery

Old Forms For New Uses: William Kentridge at Marian Goodman and the Met


“He works with archaic materials using self-imposed limitations”


Installation view: Aldo Tambellini, We Are The Primitives Of A New Era at James Cohan Gallery, 2013. Photographer: Bill Orcutt

Spooky and Luscious: Aldo Tambellini at James Cohan


Reconstructed environments of pioneering cameraless films prefigure upcoming MoMA screenings


Installation view featuring (on the right) Nine Cosmic CD’s: For The Firespitter (Jayne Cortez), 2013, acrylic on canvas, 45h x 137.5w inches. Courtesy Alexander Gray Associates, New York.

Cosmic Put-on: Notes on Jack Whitten


Paintings of the 4th dimension


Anne Truitt, Second Requiem, 1977/1980. Acrylic on wood, 84 x 8 x 10 inches. Courtesy of Matthew Marks Gallery

Finding a Place: Anne Truitt from the 1970s at Matthew Marks Gallery


A true independent with a pastoral sense of existing within a landscape


Torbjørn Rødland, The Corner, 2008-13, 55 1/8 x 43 5/16 inches. Courtesy of Algus Greenspon.

The New Image: Torbjørn Rødland at Algus Greenspon


A photographer’s serious conceptual tone with a hint of satire


Joanne Ziprin, screen-printed greeting card for Inkweed Art [“Stop doodling! Be my Valentine~”] 4 7?8 x 23 7?8 inches, ca. 1952. Photo credit: Jeffrey Sturges. Courtesy of the artist and Maccarone, New York.

Carol Bove’s Uncanny Authorship


A staged meeting of the art object with its other at Maccarone