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Sue Spaid

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  • 16 years ago

    Even though most of John Armleder's and Sylvie Fleury's works are dated 1999, one immediately senses déjà vu, mostly because this recapitulation comprises new versions of works produced throughout the '90s. Hallmarking this look at i...

  • 17 years ago

    In light of teenagers who skirt their school's exterior to avoid those inside, it's difficult to cruise the corridors of Argentinean Guillermo Kuitca's 1998 floor-plan paintings without wondering who grants whom the right of way. The paintings res...

  • 17 years ago

    No doubt, visual experiences that introduce new concepts or enhance perception— Renaissance paintings' linear perspective, pointillism's benday dot forays, and constructivism's dimensionless renderings—adapt the brain's cognitive capabil...

  • 17 years ago

    Soon after I jokingly told a gallerist that artists should make their own invitations, I received a hand-cut curved card in the mail. This conscientious endeavor piqued my curiosity. To my delight, Ruth Root's seemingly haphazard installation of i...

  • 17 years ago

    If checklists weren't so eager to disclose the cache, art viewing might aptly resemble an Easter egg hunt. Boomerang (1998), Melissa McGill's small mirrored gobs of blown glass thoughtfully deposited throughout C/R/G's premises, proposes an arduou...

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