Jeff Gibson

Portfolio: Darren Bader

[Picabia’s] La jeune fille . . . so reverses figure/ground relations that its ground becomes a figure against the space of the world—or perhaps better, its ground becomes a frame for a figure now readable as literally transparent.—George Baker, The Artwork Caught by the Tail: Francis Picabia and Dada in Paris (MIT Press, 2007) DAVID […]

Mason Williams, Sunflower, 1967. Production still for an unfinished film. Legend has it that in 1956 an eighteen-year-old Ed Ruscha set out solo from Oklahoma City in a customized Ford, taking the …

Lauren Silva, Sling, 2015, ink-jet print on silk charmeuse with paper, acrylic, ink, gouache, and spray paint, 38 × 46″. There’s something not quite right about the paintings in Lauren Silva’…

View of “Peter Halley,” 2017. From left: The Line, 2017; Revolt, 2017; Rift, 2017. Peter Halley’s latest show—his first with Greene Naftali—was spectacular, though severely and queasily so. Setting…

Many of Charline von Heyl’s paintings crackle with an awkward intensity. Though her works occasionally lapse into relatively uncomplicated decor, the lion’s share of her oeuvre, a thirteen-year sampling of…

Erin O’Keefe, Things as They Are #42, 2017, ink-jet print, 20 × 16". More than a little of the considerable appeal emanating from Erin O’Keefe’s photographs lies in the difficulty…

Wickerham & Lomax, The Migration 7.25/8.11 Bag, 2021, digital rendering. > If it is a human thing to do to put something you want, because it’s useful, edible, or beautiful, into a ba…

View of “Pieter Schoolwerth,” 2015. Pieter Schoolwerth knows how to paint. In recent years, he turned his hand to no less daunting a task than the subjective reinvention of old-master iconography, …

Bruce Hainley and Wayne Koestenbaum discuss the film work of Guillaume Dustan