Noah Fischer’s “Rhetoric Machine” presents a whirlwind tour of American history since 1941: a ten-minute-long narrative installation in kinetic sculpture, lights and recorded sound. Snippets of pop songs, sound effects and recordings of speeches by every president from F.D.R. to Clinton accompany the sculpture’s ten-minute sequence of light and animatronics. Some of the sculptural elements […]

Recently, installation art has begun to engage narrative and conceptual language. In my own video installation work, I am interested in using recent technologies, including video, DVD and virtual space. Narratives here include personal constructed histories as well as the experience that the viewer brings to the installation, ultimately completing the sculpture. Much of my […]

In attending various galleries and museums this past October, such as the Sculpture Center and Jack the Pelican in New York, I noticed a trend: many exhibitions were set up as installations in the form of a narrative, whereby each part of the story was broken up into “stations” that the viewer was to view, […]

Although by the early 90s installation art had emerged as a particular mode of art-making, encompassing structural and procedural components such as the immersive and experiential environment; the blurring of the boundaries between viewer and art object; and the bold mixing of media to include the performative, it maddeningly retained its fluid borders, admitting a […]

The purpose of this text is to explore the artistic relationship between the concepts of thing, space and experience; to suggest some philosophical principles at work and to consider a recent example of their application in an exhibition by Cheyney Thompson. To speak broadly and evoke general categories like thing, space and experience is to […]

The idea is at once exciting and brilliant: snap a photograph, take it apart and then piece it back together, however you want. I can think of few better ways to intervene in reality (without actually intervening, of course) and to reconfigure the world to reveal its, or one’s own, biases. So I expected to […]

The life of Alice Cattaneo’s works is always in danger. The delicacy of these structures and the insubstantiality of their materials make them fragile, intangible and dramatically poetic. In them, we find elements from our daily life, one after another, woven into a net made with daily materials such as cardboard, nylon, wooden sticks, etc. […]

In retrospect, I assume that entering Bellwether Gallery to see Brent Green’s debut solo exhibition, “Paulina Hollers,” is as close as I will ever come to entering another person’s mind. At the very least, the show transformed the space of the gallery into another world—one filled with captivating videos, engrossing soundtracks and a strange, magical, […]

Recently, mounted at Newman Popiashvili Gallery in Chelsea, “Drawing Room” cleverly combined an eclectic group of seven artists preoccupied with the nature of space and how we structure our lives within it. Taking its title from a photograph by Michael Huey, Newman Popiashvili’s winter group exhibition undermines assumptions about the physical and psychological membranes that […]

To view a JonMarc Edwards work is to recognize its author immediately. The coherent symbolic vocabulary established by this painter/sculptor/assemblage artist over the past decade and a half is, in more ways than one, entirely readable. In his works, the artist consistently employs the signs making up the English language as communicators of ideas, emotions […]