Hana Miletić, Materials, 2024, in “Desire Lines” at Magenta Plains, NY, May 6–June 21, 2025.
Exhibition Review
Hana Miletić’s “Desire Lines” at Magenta Plains
e-flux Criticism | June 13, 2025
Although her practice is rooted in photography, Hana Miletić’s first solo exhibition in New York contains no images. Instead, the eight handwoven textiles adorning the walls of the gallery are convincing recreations of ad-hoc repairs and temporary structures the artist photographs as she traverses urban centers—in this case, the surrounding Chinatown neighborhood. Above the reception desk, for example, hangs a looped, twisted, and knotted necklace of woven caution tape that may prompt viewers to proceed with heightened awareness.
Installation view of Mira Dayal’s Unfolded Map Fold (2024) in “Steel Model of Paper Copy of Desk Top with Pencil Groove,” Spencer Brownstone Gallery, NY, March 8 – May 10, 2025.
Reading
Mira Dayal’s Instructions
Spencer Brownstone Gallery | May 6, 2025 (6-8pm)
I will be reading from my contributions to Instructions, an artist book Mira Dayal is publishing in conjunction with her solo exhibition at Spencer Brownstone Gallery, Steel Model of Paper Copy of Desk Top with Pencil Groove (March 8 – May 10, 2025). Each piece in the book was written in response to the artist’s prompt to produce “instructions” for the sheet metal sculptures on view. Other participants include Isabel Bird, Ella den Elzen, Shannon Lee, Dana Lok, Shannon Mattern, Sreshta Rit Premnath, Sophie Rose, and Moira Sims.
Installation view of Carolyn Lazard’s Fiction Contract (2025) in “Two-way” at Artists Space, NY, February 28 – May 10, 2025.
Exhibition Review
Carolyn Lazard’s ‘Two-way’ at Artists Space
Cultured | April 30, 2025
At a time when reproductive rights are under attack in the U.S., and egregiously high Black maternal mortality rates illuminate dire inequalities in healthcare, Carolyn Lazard centers Black patients and workers with a pair of taut, unsettling videos on birth-related care in their exhibition “Two-way” at Artists Space. […] In one, a pregnant patient, dehumanized by the healthcare system, navigates their first prenatal checkup; in the other, an all-Black medical team practices birthing techniques on a nonhuman surrogate—a mannequin with brown skin named Jayda.
Installation view of “Christina Ramberg: A Retrospective” at Philadelphia Museum of Art, February 8 – June 1, 2025.
Exhibition Review
“Christina Ramberg: A Retrospective” at Philadelphia Museum of Art
ArtReview | April 2025
About but not always of the body, Christina Ramberg’s paintings hold in tension its visceral realities and reductive representations, its strengths and vulnerabilities, its allure and repulsiveness. […] That her typically female subjects – often shown bound, cloaked or in compromising positions – do not look back at us implicates our gaze in the power dynamics of her pictures. Part of Ramberg’s self-described strategy of ‘withholding information’, the absence of faces also produces an objectifying anonymity that became literalised as her increasingly abstract figures merged with their adornments.
Exhibition Review
Camille Henrot’s “A Number of Things” at Hauser & Wirth
e-flux Criticism | March 13, 2025
Henrot produces dramatic shifts in scale through oversized sculptures of toys and biomorphic abacuses, encouraging viewers to take the perspective of both adult and child. She covers the entire gallery with a padded and gridded green safety surface that resembles a “self-healing” cutting mat, a custom floor that unifies the disparate artworks as in a playground or a theater. Yet she has subtly distorted the grid, undermining the structuring order it purports to provide. If Henrot’s installation suggests a playscape, it is—like Wonderland—off-kilter, mysterious, and full of obstacles.
Exhibition Review
Les Levine’s “Analyze Lovers” at Ulrik
Frieze | January 14, 2025
Vincent van Gogh must have seemed omnipresent when Les Levine, pioneering video artist and self-identified ‘media sculptor’, produced Analyze Lovers: The Story of Vincent for Utrecht’s Centraal Museum in 1990. It was the centennial of Van Gogh’s death; he was the subject of numerous blockbuster exhibitions; and his paintings were regularly breaking auction records. Levine’s video, currently on view at Ulrik alongside a selection of related works, gently parodies efforts to locate meaning within art and to separate, if possible, artists from their mythologies.
Exhibition Review
Tina Girouard at CARA, Magenta Plains, and Anat Ebgi
Art Monthly | November 2024
In May 1971, on a pier under the Manhattan base of the Brooklyn Bridge, Tina Girouard swept the plentiful dirt and debris into piled lines that traced the floor plan of a home. Girouard based the work on childhood memories of imaginary play, so it was fitting that she recruited a group of local kids – who had been vandalising other art projects – to help her scavenge furnishings and appliances for the ‘house’. Girouard’s ephemeral project literalised homemaking, turning the oft-gendered labour of maintenance and upkeep into a structural foundation. It’s also an early example of how the artist found, or made, home and community wherever she went.
Installation view of Jenna Bliss’s “Basic Cable” at Amant, Brooklyn, NY.
Exhibition Review
Jenna Bliss’s “Basic Cable” at Amant
e-flux Criticism | October 15, 2024
Armed with her camera, native-New Yorker Jenna Bliss roams the narrow canyons of Lower Manhattan. Her unsteady lens lingers on passersby and commercial storefronts; gazes skyward to scale gleaming towers; and hovers, from afar, on the skyline’s iconic, yet ever-morphing silhouette. With the September 11 attacks, the 2008 financial crisis, and the Covid-19 pandemic as inflection points, Bliss blends fact with fiction, past and present, to probe our collective perception of Wall Street as a place and an idea—from the ground up.
Installation view of Joanna Piotrowska’s “unseeing eyes, restless bodies” at ICA, Philadelphia.
Exhibition Review
Joanna Piotrowska’s “unseeing eyes, restless bodies” at ICA Philadelphia
ArtReview | October 2024
Hands predominate in Joanna Piotrowska’s black-and-white photographs of staged human interactions: they caress, comfort, hold and protect, but they also grab and intrude and maybe even abuse. The tension in the Polish artist’s images stems from the ambiguous nature of the physical contact she portrays. The hand that tightly grasps a woman’s shoulder in Untitled (2014), for instance, could be passionate, consoling, possessive or violent.