Review: Louis Fratino at Sikkema Jenkins & Co

This review was originally published on Artforum.com

Although acutely following the tradition of artists like Pablo Picasso and Marc Chagall, Fratino’s canvases are neither derivative nor pastiche. Rather, in a stroke of generative revisionism, the works here inscribe the straight art-historical canon with the prosaic and intimate junctions of gay life today.

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CURRICULUM: Spaces of Learning and Unlearning, Review

This review originally appeared on Artforum.com

Mining affects such as color, atmosphere, and ritual, the works in “CURRICULUM: spaces of learning and unlearning” offer alternative networks of care and collectivity in response to, and in place of, institutions.

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Jamie Gray Williams at Selenas Mountain

This review originally appeared on Artforum.com

Citing classic slapstick, the figures in Jamie Gray Williams’s paintings and drawings loom in tragicomic disarray. Squirming, tripping, poking, tumbling––their bodies are both unmoored from any discernible surroundings and completely at the mercy of unseen obstacles. These genderless, guileless creatures, their noses squishy and upturned, limbs scribbled like markings on craft-store pen-tester pads, are loopily fatalistic.

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On Algis Norvila's Photo Series “Memento”

The containers in Norvila’s photo series “Memento” – primarily wooden drawers, but on occasion simply white space – accommodate what he calls “the things needed to keep a house going.” That the maintenance of a house (and creation of a home) is something of a Sisyphean task – a painstaking race against inevitable decay – is attested to in these photos. And yet the contents of the drawers, tins, buckets and white space in the photographs interpose a sense of stillness, a hermetic containment of time, an embalming. “Memento” grapples with this tension between static and dynamic modes of remembering and re-articulation.

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