The five extraordinary paintings that comprise Alissa McKendrick’s Resentment combine a revitalized figuration with a satiric sensibility.
Team Gallery
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Paul Mpagi Sepuya Breathes New Life Into the Genre of Studio Portraiture
Sepuya’s portraits unmask the artifice of studio portrait photography.
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Sculptures of Synthetic Body Parts Mixed and Matched
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.”
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Composing a Symphony of War with Instruments and Everyday Objects
What does war sound like? For Samson Young, it’s calm, somewhat foreboding — human, organic, often silent but with bursts of technological noise.
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Who’s Afraid of Hot Pink, Canary Yellow, and Midnight Blue?
Color is frightening. From the color of one’s skin to the color of a painting, it can stir up unlikely obsessions: all kinds of irrational responses tend to explode without provocation. Barnett Newman and Mark Rothko have two things in common: wide expanses of color and the proclivity for people to deface their paintings more than any other Abstract Expressionist work.
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Skirting the Nether Regions: Black Cake at Team Gallery
Currently at Team Gallery’s two venues, on Grand Street and Wooster Street in Soho, there is an exhibition simply titled Black Cake. Curated by Alex Gartenfeld, it includes only two artists from Team’s roster (Massimo Grimaldi and Ryan McGinley) out of sixteen participants, which puts it outside the typical reshuffling of the deck we so often see in January group shows.
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Open Secret
Stanley Whitney is in his mid-sixties. By his own account, he struggled in the studio from the early 70s to the late 80s, “just trying to make work.” The issue was to make something that was his, rather than to make something that was the right or approved of thing to do. Although it is seldom discussed publicly, this is the dilemma facing every African-American artist. You must be a spokesperson who produces testimony that can be regarded as representative of Black culture — the “I” speaking for the “we.” (Even after the death of the author, it seems that there is at least one “we” that must be spoken for in this postmodern world.)
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Cory Arcangel and Pierre Bismuth Tag Team in Soho
When I walked into Team Gallery this week to see their current exhibition, Cory Arcangel vs. Pierre Bismuth my gut reaction was annoyance. The exhibition presents three works by each artist. Though Arcangel’s rise to fame has come somewhat immediately and unexpectedly, as a kind of young hip digital concept artist Pierre Bismuth’s 20-year career is equally concerned with technology and media. The result is seamless and startling to an admittedly backwards curmudgeon like me.
