On View

‘Elaine Reichek: A Précis 1972–1995’ at Zach Feuer

Installation view. (Courtesy Zach Feuer)

Elaine Reichek’s appropriation, in her 1994 piece Model Teepees, of 29 black-and-white photos shot at the turn of the last century, seems too easy. The images, displayed in homey wooden frames stained red and arranged in a cloud-shaped, corner-to-corner lattice, show 7-inch model teepees built by Native Americans for the ethnographer James Mooney and were taken from glass plates found in the archives of the Field Museum in Chicago. An appropriation of an appropriation of an appropriation remains an appropriation, but that’s exactly the fact that pushes this indictment past the political into the psychological and makes it unanswerable. The teepees, some striped like flags or pajamas and one, right in the middle, decorated with a gorgeous painting of a mounted skirmish, will remain defiantly fascinating whatever their frame, so there’s no way to call attention to them without also stealing the fascination. Read More


Omi Arts Center Gives Greenburger Awards to Saul, Mekas, Nonas, Porter, Reichek

Peter Saul, 'Helluva Problem,' 2012. (Courtesy the artist and Mary Boone Gallery)

The Ghent, N.Y.–based Omi International Arts Center has named the five winners of its 2013 Francis J. Greenburger Award, which goes to “established artists whom the art world knows to be of extraordinary merit but who have not been fully recognized by the public.” (Good idea for an award, right?) The five honorees this year, who each receive an unrestricted $10,000 grant, are Bruce Porter, Peter Saul, Jonas Mekas, Richard Nonas and Elaine Reichek. Read More