The poems in Elaine Kahn’s Women in Public are highly self-aware. They’re porous, riven with gaps and fragmentation; at the same time, they’re unquestionably “lyrical” in their concision and fluidity
The poet James Schuyler once described the tidal influence that the New York art world had on the poetry he and his friends were writing as “floods of paint in whose crashing surf we all scramble.”
Can sculptural works that physically render immaterial digital structures give us an authentic perspective on the body, one that takes into account its history as well as its potential? Ross Knight’s work signals “no.”
The tension between design and art derives from the utility ascribed to the former vying with the elusiveness that characterizes the latter.
The works in Rachel Rossin’s show at Zieher Smith & Horton unfold sequentially, like the illustrations of an idea that is carefully trying to prove itself.