MAGAZINES

Subcultural Treasures

In the early 1990s, Blake spotted the ascent of identity art and began to seek out ways to work around it.…Read more
MAGAZINES

Inner Workings

In the way that Conceptual art is often about art and art-making, Moriah Evans’s dances are about dance.…Read more
MAGAZINES

In the Studio: Mark Van Yetter

Paying attention only to the contemporary seems naive to me. …Read more
MAGAZINES

Metaphorical Morphologies

For Terry Winters, even more than for most painters, drawing is the soil out of which his thinking has grown.…Read more

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Reviews

Israeli-born, Brooklyn-based artist Doron Langberg invigorates the centuries-old traditions of genre painting and portraiture with high-key images whose surfaces combine myriad, at times discordant, textures. Among the effects encountered in the fourteen canvases in this exhibition were swiftly laid down washy passages, thick tarlike swaths, tightly rendered patterning, and flat areas of pure color. In addition, Langberg has a knack for capturing hu

man expressions and gestures, with the distinct personalities of his figures adding to the works’ vitality. Friends and lovers are among Langberg’s favored subjects. Louis, Tristan, and Sarah (2017) is a nearly six-foot-high canvas featuring two young men on a sofa, one with his head in the other’s lap, and a young woman sitting on a patterned carpet on the floor, gazing absently beyond the picture plane. The scene seems almost irradiated, with various components rendered in glowing oranges and pinks, and a T-shirt in blinding white. Looking closely, one notices that the faces are composed of mere suggestions: a few swift strokes add up to a likeness. Despite an atmosphere of relative contentment, things in Langberg’s works often feel impermanent. Edges blend and passages are wiped or scraped away to reveal the canvas underneath. Such techniques convey the sense of fading memorie...

In November 1996, a fatal car crash in the Turkish town of Susurluk led to one of the biggest corruption scandals in the country’s history, after caches of money, drugs, firearms, and passports were found in the vehicle’s trunk. Soon, evidence emerged that the supposed accident was actually an assassination, and as links between government ministers, armed forces, and organized crime were uncovered, the notion of a “deep state”—a political

ly powerful cabal pursuing hidden interests—began to develop.Noor Afshan Mirza and Brad Butler’s film installation The Scar (2018) offers a complex, highly fictionalized take on the events leading up to the crash, and on a sordid political situation in a country whose state-level corruption has hardly abated in the decades since. The London- and Istanbul-based duo conceived the work in three parts or “chapters,” each of which had its own, curtained-off projection area in the gallery. In the first chapter, “The State of the State,” we follow the doomed, nighttime drive of four characters based loosely on the crash’s real-life victims. We see a police chief at the wheel, a nationalist politician next to him, and a mafia boss–cum–government hitman in the back, with his girlfriend alongside. Speaking in Turkish, the quartet converses, argues, swaps stories. “The state tak...

Transgender punk icon Jayne County, aka Wayne County, gained considerable notoriety in the 1970s and early ’80s for her raucous performances at New York nightclubs including Max’s Kansas City and CBGB. She wore bouffant blonde wigs to channel Dolly Parton and Dusty Springfield, though she eschewed those mainstream stars’ vocal techniques by belting out underground anthems like “Man Enough to Be a Woman” with tongue-in-cheek panache. County

’s brash style was a cross between those of the Dave Clark Five and the Ramones, and her lyrics expressed unabashed rancor toward the “straight world,” American Puritanism, and all those who would make day-to-day living miserable for the LGBTQ community. A major influence on contemporary gender-fluid performers such as Justin Vivian Bond and Lady Bunny, County, now seventy-one and living in her home state of Georgia, is gaining recognition as a fearless trailblazer, with her vintage performance videos on YouTube attracting new audiences....

Botswana-born, New York–based painter Meleko Mokgosi portrays scenes of daily life in southern Africa, often combining his images to create dramatic multi-panel filmstrip-like sequences. He generally bases the paintings on photographs, whether those he takes during annual visits home or those shot by assistants living in his native city of Francistown. Installed around the perimeter of a gallery at UCLA’s Fowler Museum, his latest cycle of twent

y canvases continues his series “Democratic Intuition” (2014–), in which he investigates the complexities, contradictions, and precarities of systems of power in southern Africa that at times run counter to the interests of citizens. The new group, “Bread, Butter, and Power” (2018), centers loosely on gender and class dynamics. In these paintings, Mokgosi subtly but decisively champions the undervalued work of women in southern African society, while conveying hopes for reclaiming a sense of self-determination for the formerly colonized region. ...

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