human resources

SculptureCenter Names Ben Whine Associate Director

Ben Whine. Courtesy Patrick McMullan

SculptureCenter has named Ben Whine associate director, Mary Ceruti, the institution’s executive director and chief curator, announced today. Mr. Whine will begin his post September 2, just before SculptureCenter will unveil a new expansion and renovation in October.

Mr. Whine comes from the Guggenheim, where he worked in development and fundraising. He previously held jobs in museum Read More

On View

‘Eric’s Trip’ at Lisa Cooley

Blank Green. (Courtesy Cary Whittier/Lisa Cooley gallery)

The choice that curators Cynthia Daignault and Mark Loiacono set up in “Eric’s Trip,” a group show named after Reel 9 of Warhol’s 1966 Chelsea Girls, is high contrast but not quite on the level. On one side is a theatrically full-color mimicry of black and white, as in Margaret Lee’s (Brancusi I) + Dot Painting, which throws a few casual black dots against an impossibly milk-white canvas and an MDF doppelganger of a Brancusi notched column; Sheila Hicks’ Tipped, a small, diamond-shaped weaving like an ancient Eskimo account of the Milky Way; and three installations by Kamau Amu Patton. Read More

On View

‘New Hells’ at Derek Eller Gallery

Blue Devils  by Jason Fox (2013) images courtesy derek eller gallery

The occult anxiety begins with Jesse Greenberg’s Brick Birth I, a polyurethane magic-show effigy of a shamanistic cave vulva sitting on a low, icy green pedestal next to a stingray placenta. Several clean, white escape ropes drape across its orifice only to get stuck in its walls. A sculpturally cool, late 19th century ink and crayon drawing by Félicien Rops, Gaieté Hermaphrodite, points the way to Julia Wachtel’s billboard-style, oil on canvas juxtaposition of a pair of sexily inhuman anime schoolgirls with a slightly fantastical fast-food menu, Doubles, and Max Klinger’s overheated allegorical etching Ruler of Death (Second Part, Opus XIII), also a century old, directs the viewer to Lionel Maunz’s cast iron, steel and concrete Social Pattern Defect, a ruefully funereal evocation of the ruins of a Socratic dinner party. Read More

On View

‘Technokinesis’ at Blum & Poe

Installation view 2014. (Courtesy the artist/ Blum & Poe gallery)

The technokinetic cranium imagined by Jenny Jaskey and Andrea Neustein looks down over 66th Street and is, like the inside of an atom, unnervingly empty; its pieces are still even when they’re moving and look slippery when they’re not. Dennis Oppenheim’s video Disappear, in which a hand shakes frantically in front of a gray wall to a voice, often doubled and overlapping, that insists, “I don’t want to be able to see myself anymore,” faces an untitled motor by Michael E. Smith, which rapidly spins the broken-off nose of a brownish, dry and upturned skull, close-set and waiting patiently. (What does it mean that the shape of a head is more sympathetic than its mechanism?) Cooly ignoring the motor’s loud hum are three silver prints by Eileen Quinlan: Withers Landline, the half-expunged impression of a way we used to talk; Mold Remediation, in which an appalling whiteness eats Venetian stripes into a dumbly resistant black; and the smokily translucent Language Acquisition. Read More

On View

‘Christopher Williams: The Production Line of Happiness’ at Museum of Modern Art

Cutaway model Nikon EM. Shutter (2007).

The first time I saw a Christopher Williams photograph, what struck me was how much it showed—it managed to be at once a photograph and to pull back and show a number of usually invisible things about a photograph being made. Call it a super wide-lens effect. Take, for example, one of his pictures of a camera lens bisected, like Cutaway Model Zeiss Distagon T* 2.8/15 ZM, 2013. The title, which has been shortened here, goes on to describe the specs of the lens—its focal range, and its weight and serial number. The c-print is rich with the detail of the mechanics of a camera: concatenate ground-glass chambers pinned in place with precision steel and copper. The image speaks not just to the object on display but to the origins of photography—the portable camera obscura, the camera lucida and those earliest cameras by Louis Daguerre. Read More