Author Archives: Rachel Nackman

Tristan Perich, Machine Wall Drawing

Live video feed of Tristan Perich’s Machine Wall Drawing, currently installed at the Katonah Museum of Art.

Click here to watch the machine drawing!

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Kristin Holder on William Anastasi

Untitled (Pocket Drawing) is a blind drawing made between the limbs of the arm and leg, next to the body instead of in front of it. These scratches and scrawls are recordings—ticks and twitches of the body, mind, and eye—that multiply as Anastasi folds and refolds the paper. The drawing’s intensity is evident twofold: first, in the glare of graphite, a sheen that is produced by pressing forcefully, and second, in the creation of a much fainter image—the transfer and mirror image of the primary marks. (I have to refrain from using the terms ‘original’ and ‘copy’ as the two drawings are made simultaneously.)

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Frank Badur on Carl Andre


The “disparity of the similar“ (adapted from Viktor Shklovsky) that is so significant for Carl Andre’s complex body of work is also evident in these three small red and black panels. It is quite possible that a quick, fleeting glance will capture three identical images – yet are they identical in size and color? As with Carl Andre’s spatial floor sculptures, this two-dimensional triptych calls for an active, differentiating viewer who takes time for a close-up inspection. Only through an intensive comparison do the three pieces reveal their individuality. The probing eye moves across three dissimilar, rising diagonals – organic separations between the red and black forms. The color balance successively favors the black; irregular brush strokes and restrained textures reference an intuitive creative act. These intimate panels remind me of early Suprematist paintings, small abstract icons whose spiritual energy and visual poetry hold the viewer enraptured.

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Nicole Fein on Stephen Antonakos


Unbridled
Dance
Flurry
Celebration
Fiocco’s Allegro
Shifting currents
Changing seasons
Merge and emerge
Spontaneity
Ease
Balance
Lines illuminating the beauty of life

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Jill Baroff on Frank Badur








When do black and white become equivalents? What an idea: that black and white are the same! When black does not divide, but holds a space steady. When it does not break from white to become an image, but rests in animated stillness like a Ryoanji stone. Sequence infers movement from one moment to the next, but here, there is no individual moment; there is only the whole seen from varying perspectives in time.

Look closer…

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Suzanne Bocanegra on Jill Baroff


The sequencing of the five panels is meant to demonstrate the passing of the season, I think. The panels are swatches, bits of a whole, framed in a line and read from left to right; the grid grows larger as we read. The lines divide and make a whole, in rhythm, like an eye closing and an eye opening.

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Allyson Strafella on Robert Barry


It has order 1969-70
Robert Barry



On It has order 1969-70
Allyson Strafella



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Allyson Strafella on Suzanne Bocanegra

Lines
standing side by side.
Rows arouse doubt,
—a search
for an exit.

Yet during the performance
in the poppy field,
the crowds stand tall, swaying slightly.
Each figure moves like a pendulum,
bowing to its forces.

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Annabel Daou on Suzanne Bocanegra




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Suzanne Bocanegra on Mel Bochner

There is a paradox at the center of Theory of Painting—the graph paper gives it away. It is a set of instructions about how to make something: a plan, an architectural description of a kind of sequential change. And yet, it’s four drawings. Mel Bochner is making something and thinking about making something at the same time.

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