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.

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 the [...]

British artist Roger Hiorns is known for deploying salt, industrial-strength disinfectants, and, most consistently, copper sulfate crystals in his sculptures. A solo exhibition of new work opens next week at Corvi-Mora in London. It is timed to coincide with Seizure, a new, large-scale installation commissioned by Artangel and presented at 151–189 Harper Road, London, September [...]

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 indigenous [...]

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 works [...]

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 (there [...]

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 conscience [...]

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 the [...]

Top: Zoe Leonard, Tree, 1997. Two installation views at Paula Cooper Gallery. (Photo: ArtSeenSoho.com) Bottom: Anya Gallacio, One Art, 2006. Installation view at SculptureCenter. (Photo: G. Paul Burnett/the New York Times)
Though the exhibition took place before I came to New York, images of Zoe Leonard’s 1997 show at Paula Cooper’s gallery have left an indelible [...]

New Yorkers are uniquely positioned to assess the recent development of Banks Violette’s art. While his star is everywhere on the rise, it is already incandescent in this town, evidenced by his recent omnipresence in group exhibitions and the commission he received from the Whitney for his first-ever solo museum exhibition. The artworks he has [...]

Published in Afterall issue 11.
The forward thrust of modernist ambition, which despite many counter- and cross-currents, birthed a more-or-less linear progression of artistic movements during much of the twentieth century — Cubism, Dada, Surrealism, Abstract Expressionism, Pop and Minimalism, Conceptual art, Post-Minimalism, to name a few — finally began to give way in the 1990s. [...]

Published on Artforum.com on April 27, 2005. To see the review in context, click here; for more information, click here.

After seeing several Jim Lambie exhibitions conceived as installations—”Paradise Garage” in Venice in 2003, “Mental Oyster” in New York last year—it’s a pleasure to once again be reminded of his proficiency as a sculptor, a maker [...]

Published on Artforum.com on February 25, 2005. To see the review in context, click here.
In his first solo show with this gallery, Minnesota native Rob Fischer presents wonderful sculptures, pretty good painted photographs, and just-OK paintings that all up the ante on his peculiar blend of high plains anomie and rural ecology. He combines the [...]

Published in the catalogue accompanying the short-lived exhibition “Terminal Five.” To read more about the exhibition, click here and here.
Mark Handforth possesses the increasingly rare ability to make sculptures that engage the eye, the body, and the mind. With an incisive wit and visual sophistication, the Miami-based artist pairs the handmade with appropriated everyday objects, [...]

Published in Untitled Magazine. For more information about the exhibition, click here.
Over the last five years, Chicago-based artist Helen Mirra has established herself as one of the foremost practitioners of what Benjamin Buchloch once called “dense minimalism.” Her art is in synch with the formal qualities of 1960s Minimalist forebears yet inverts the ‘muteness’ of [...]

Published in Flash Art, May 2004.

New York artist David Altmejd’s grotesque sculptures, usually comprised of heads or other fragments of monster bodies, directly engage the repressed underside of our imagination and incongruously mix the things we dare not consciously consider with a certain sense of cheap glamour. His recent works, accumulations of small, sparkling found [...]

Published as “Why We Should Talk About Cady Noland,” a one-off photocopied fanzine, in an edition of 250 copies.

SETTING THE STAGE
Written in 1987 and presented in Atlanta at an academic conference on evil, Cady Noland’s Towards a Metalanguage of Evil outlines in detail the power politics inherent to the relationship between a psychopath and his [...]

Published in the first issue of Ten Verses, a now-defunct online magazine I edited in 2002–2003.
Michael Elmgreen and Ingar Dragset have collaborated since 1995. Their art fuses the legacy of 1960s and 1970s institutional critique with sexual and identity politics. In their Powerless Structures, often taking the form of sculptural installations, the “white cube” of [...]