Simon Norfolk returned to Afghanistan under the influence of John Burke, a photographer who traveled with British troops during the Second Anglo-Afghan War of 1878–80. In an attempt to draw out the continuities between the earlier conflict and the current occupation, he has both retraced Burke’s steps and created pictures he imagined Burke would take today.

Benson has devised a novel printing technique by which he isolates the photograph’s constituent parts into different layers, printing each separately after making minute color adjustments. Yet Benson offers a vision of America that verges on kitschy Americana.

Spanning more than half a century, “Daido Moriyama: On the Road” confirmed the artist’s importance to the story of Japanese photography. For Moriyama, urban life is tragic theater.

This show, wryly titled “New York Means Business,” collected twenty-five images taken between 1977 and 1984, nearly all depicting storefront window displays.

Victoria Sambunaris, who drove twenty thousand miles along the border to take the photographs in her new, ongoing series, “The Border,” 2009–, aims to “transcend political, ethical, or environmental ideology.” Yet political questions give these serene, large-scale, mostly uninhabited views a palpable undertow.

Link was a commercial photographer based in New York whose early love of trains was resuscitated while he was on assignment in 1955, when he took a side trip to watch a steam engine pass through town. Fascinated by the hulking machine and realizing that the Norfolk and Western lines comprised, as the exhibition title suggests, “The Last Steam Railroad in America,” Link tried to capture the tail end of the country’s century-long devotion to steam-powered travel.

Published in Artforum, December 2010. For the past decade, public attention paid to the United States armed forces has understandably focused on the wars in Iraq and Afghanistan. Yet our country currently has more than 1.4 million actively deployed troops, and an overwhelming number of enlistees are not at this moment patrolling Baghdad streets or [...]

Having spent the past decade as a ventriloquist who made the modernist visual language of Alexander Calder, Jean Arp, and Joan Miró speak to contemporary issues—networking, long-range communication, globalization—Carter now seems content to focus on form and to experiment with new materials. And he does so with considerable success.

Published in Artforum, May 2010. The exhibition remains on view at the International Center of Photography in New York until May 9. For more information, click here. We’re drawn to the past for countless reasons and revisit it in myriad ways, but analytic, interrogative approaches to what has come before us predominate in today’s art [...]

Published in Artforum, April 2010. For additional images and information about the exhibition, click here. Anne Collier is an exceedingly patient artist, revisiting key themes again and again to refine the delicate balance between what she has termed her “forensic aesthetics” and her photographs’ “psychological or emotive” content. This exhibition, her first full-scale one-person show [...]

In Roger Ballen’s “Boarding House” there are few actual subjects with which to identify. The already claustrophobic, airless interiors of the building have been further flattened by Ballen’s bright flash, and in the shallow compositional field that results one finds not whole bodies but parts.

As evidenced in this exhibition, poetry most often takes precedence over science for Dodge. That was the show’s chief strength and its primary liability. Yet the strongest artwork included here proved the value of Dodge’s explorations at the edge of sentimentality.

8 Natural Handstands (1969) is emblematic of the small but potent body of sculptures, photographs, and performances Kinmont created in the late 1960s and early ’70s, many of which were also on view in this exhibition, his first solo show in thirty-eight years.

Since 1996, German artist Florian Slotawa has created “Besitzarbeiten” (Property Works), a series of sculptural installations comprising various functional objects removed from his Berlin apartment and meticulously arranged in a gallery setting. The newest, Besitzarbeit XII, 2009, is the sole artwork in this exhibition, Slotawa’s first solo outing in New York…

Published in Artforum, summer 2009. Los Angeles artist Ry Rocklen’s fascination with the “soul residue” of discarded objects leads him to create sculptures that, while not anthropomorphic, possess many human qualities: tenderness, a complicated history, resilience despite apparent fragility. “Good Heavens,” the artist’s first exhibition in New York since the 2008 Whitney Biennial, emphasized that [...]

Published in Artforum, April 2009. To see additional images from the exhibition, as well as read the press release, click here. Last summer, Yale University Press published a book of Ruwedel’s photographic series, with an essay by Jock Reynolds, director of the Yale University Art Gallery. It is a remarkable book; I recommend it. At the conclusion of [...]

Published in Artforum, February 2009. To learn more about the book that accompanied this exhibition, click here. This was Italian photographer Luigi Ghirri’s first New York solo exhibition in over seven years, and coincided with Aperture’s publication of the first English-language monograph dedicated to the artist. Ghirri, who worked consistently from the early 1970s until [...]

Published in Artforum, January 2009. “The challenge of the next half century,” said Lyndon B. Johnson at the University of Michigan in 1964, “is whether we have the wisdom to use [our] wealth to enrich and elevate our national life, and to advance the quality of our American civilization.” Los Angeles–based artist Rodney McMillian, who [...]

Published in Artforum, November 2008. To see images from the exhibition, click here. In a passage in his journal dated February 5, 1855, Henry David Thoreau asserted, “In a journal it is important in a few words to describe the weather, or characters of the day, as it affects our feelings. That which was so [...]

Published in Artforum, September 2008. To view the exhibition’s website, click here. In lieu of a single theme, curator Lance M. Fung laid out several structuring principles for the seventh SITE Santa Fe Biennial, titled “Lucky Number Seven”: The participating artists would be winnowed from recommendations made by widely dispersed art-world professionals; they would visit [...]

Published in Artforum, June 2008. What separates true artistic development from mere rehashing? At what point should we expect established artists to move beyond the ideas that brought them their initial success? Brian Jungen’s second solo exhibition at Casey Kaplan Gallery prompted these and related questions. For nearly a decade, Jungen, a member of the [...]

Published in Artforum, May 2008. “Someone with historical sense sees reality differently: in four dimensions,” notes historian Gordon S. Wood. “If it is self-identity that we want, then history deepens and complicates that identity by showing us how it has developed through time.” Artist Matthew Buckingham clearly possesses this historical sense, and his nuanced understanding [...]

Published as “Parallel Worlds” in Artforum, May 2008. Curators at contemporary art institutions must not only engage with the question of how best to distill today’s broad realm of artistic activity but also ensure that their solution pleases a bifurcated audience: the general public and the art experts; the local community and the biennial-hoppers. Founded [...]

Published in Artforum, April 2008. To learn more about and view images from the exhibition, click here. Al Taylor’s recent exhibition at Zwirner & Wirth focused on the creative efflorescence that resulted from the late artist’s decision in 1984 to take a break from painting. The gallery presented a well-edited selection of three-dimensional “constructions” and [...]

Published in Artforum, February 2008. The work in Belgian artist Kris Martin’s New York solo debut engages quietly but directly with fundamental issues: death, entropy, the ravages of time. In a period characterized by a loss of faith in artists’ ability to communicate fundamental truths, Martin’s unswerving devotion to such grand topics is striking. His [...]

Published in Artforum, October 2007. For more than three decades filmmaker Babette Mangolte has documented, in still and moving images, the performances of artists and dancers, from her early chronicling of the work of Yvonne Rainer to her recording of Marina Abramovic’s Seven Easy Pieces at the Solomon R. Guggenheim Museum in 2005. Considering that [...]

Published in Artforum, September 2007. Ricci Albenda’s bifurcated practice encompasses architectural interventions and paintings of brightly colored words set against neutral grounds. His last solo exhibition at Andrew Kreps Gallery featured six of these text paintings, which, while attractive enough, have limited appeal beyond a simple linguistic and chromatic playfulness. In this show, however, the [...]

Published in Artforum, May 2007. Agnes Denes is perhaps best known for planting a two-acre wheat field at the southern tip of Manhattan in 1982, during the development of Battery Park City. An iconic photograph of the artist—waist-deep in golden sheaves, skyscrapers looming nearby—appears in many surveys of environmental art. But this work, of seemingly [...]

Published in Artforum, April 2007. Between Kevin Zucker’s May 2001 debut at LFL Gallery and his second solo exhibition at Mary Boone Gallery in September 2003, his finely crafted paintings seemed to be everywhere. The artist created ambitious conceptual frameworks for his canvases, often having to do with the mistranslations inherent in the visual representation [...]

Published in Artforum, March 2007. A room on a stage is typically missing one side, the virtual “fourth wall” through which the audience peers; the rooms depicted in the photographs Sabine Hornig included in this show are, unexpectedly, absent two sides. In each of the photos on view, the street-facing window of a Berlin storefront [...]

Published in Artforum, January 2007. According to the press release for “Break Camp” (Helen Mirra’s second solo exhibition at Peter Freeman, Inc.), the artist’s practice “involves no power tools.” It’s a prosaic statement that nonetheless hints at two important aspects of Mirra’s reticent art, elucidating her devotion to the handmade while also suggesting her political [...]

Published in Artforum, September 2006. Thomas Zipp could never be called unambitious: The Berlin-based artist’s first major solo gallery show in New York, at Harris Liebermann, not only coincided with his second solo exhibition in Los Angeles, and with a room-size installation at the Berlin Biennale, but also tackled some complex subject matter. Zipp frequently [...]

Published in Artforum, summer 2006. For additional images from and information about the exhibition, click here. For her New York solo debut, Italian photographer Luisa Lambri presented a four-year minisurvey consisting of just seventeen photographs, and the restrained selection underscored the importance of editing to her practice. Lambri spends considerable time in each of the [...]

Published in Artforum, May 2006. On January 7, 2000, at 10:37 PM, Munich- and New York-based photographer Barbara Probst first employed a technique that remains unique among contemporary artists. Using a remote-control device, she simultaneously triggered the shutters of twelve cameras strategically positioned around a New York City rooftop, and the resultant set of poster-size [...]

Published in Artforum, March 2006. For more information about the exhibition, click here. German artist Felix Schramm’s New York solo debut comprised primarily a single gallery-filling sculpture. Comber, 2005, was an impressive feat of intentional disarray. Set into—and seemingly bursting forth from—a raised platform, a lowered ceiling, and a specially built wall that slightly constricted [...]