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Becoming Adults: The Paintings of Elena Sisto
Manhattan-based artist Elena Sisto paints fictitious painters, mostly women, in front of their canvases. The seeming inevitability in the interlocked structure of her compositions belies the many thin layers and changes below the surface. While her earlier works included faces, the newest ones crop them out, but patterns on clothing and canvas, or the way a brush is held, reveal as much about these figures as expressions. Read More
Born Digital: Rhizome's Heather Corcoran
When Heather Corcoran was appointed executive director of the art and technology nonprofit Rhizome last summer—replacing long-time director Lauren Cornell, who had resigned in the spring to co-curate the New Museum's triennial with Ryan Trecartin—she was a bit of an unknown quantity in New York. In fact, Corcoran's entire career has been centered around the overlapping fields of contemporary art and technology (mostly in the UK), making the 29-year-old Canadian a good fit for Rhizome. Read More
Drawing Democracy: Robert Longo at the Aldrich Museum
"Politics are something I'm interested in as an artist, because artists are the first people to get shut down when things get out of control," said artist Robert Longo, who spoke to A.i.A. recently at his studio in New York's Little Italy. Politics—and their attending monoliths—are endemic to a recent series of drawings by Longo, "God Machines." The newest addition to the series, which also includes depictions of places of worship, is Capitol (2013), an enormous seven-panel charcoal drawing of the U.S. Capitol Building. Read More
Playing Telephone: An Interview with Amalia Pica
Images associated with listening—cups pressed to the wall, a makeshift antenna, earplugs cast in metal—thread through the work of London-based, Argentinian-born artist Amalia Pica. It's an unusual preoccupation, particularly for an artist whose work extends the legacy of Conceptualism, which, at its most stringent, posited art as something purely ideational, unbound by the exigencies of shape and form. Strange too is Pica's invocation of listening as a visual rather than auditory experience: rarely does her art feature actual sound. The theme's fugue-like persistence in Pica's work undergirds its subtle revisions of Conceptual dogma. While '60s Conceptualists claimed authorship of the ideas that variously constituted or subtended their work—the idea was theirs, even if its execution fell to another—Pica limns the ways in which our thoughts are conditioned by the presence of others. Her art frames communication as an essential, albeit precarious act, filtered through semiotic systems that warp and muddle meaning, so that mutual understanding is never assured. Read More
Industrious Revolution: An Interview with Justin Matherly
Even though the objects on view are all made with modern-day industrial materials such as concrete and metal, walking into "All industrious people," an exhibition by Justin Matherly at New York's Paula Cooper Gallery (through Apr. 27), feels something like entering a show charting an archaeological dig at an ancient site. Consisting of seven inkjet monoprints and one monumental concrete sculpture mounted upon a gaggle of metal walkers, the show largely derives its inspiration from Nemrud Dagi in Turkey, an excavated temple-tomb devoted to King Antiochus I, a Hellenistic emperor who ruled in the third century B.C. Read More
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Currently on view in the group show "Redux" at New York's Cristin Tierney Gallery (through Feb. 4) are two works by Joe Fig, both related to his 200
