• Hilary Berseth | Future Greats | ArtReview

    Hilary Berseth, Programmed Hive #7 (2008)

    Drawing and sculpture share an inherent affinity, which on first glance has to do with their capacities for capturing space and holding it. Julio González synthesised this affinity in a single, and singular, practice. Artists such as Richard Serra cold roll it. Hilary Berseth is peeling back a fold of that affinity, perhaps by de-synthesising, or decomposing it, and showing us new distillations and combinations, and how such an affinity may not be ‘elective’ after all. The electrochemical sculptures, in which copper and nickel grow tumorous organo-crystalline forms at their edges, hook sculpture’s hard, dead materials – in Berseth’s hands: metal, plaster, concrete – back up to its élan vital. Think Brancusi’s Bird in Space (1923) for an age whose main metaphor is no longer the machine but the network, the lattice, and their infinite complexities. There is order in this chaos, however, as witnessed in Berseth’s early Programmed Hives (2008), wherein honeycombs are built – by the bees no less! – into complex geometries, at once regular and irregular. Berseth’s drawings would then almost seem to belong to another artist entirely, until one takes note of their own complex aggregations: the image of a stairwell overlaid with one of a retina, replete with the halo of its optic disc (that is presumably doing the viewing); another of a diorama overlaid by the view one would see from its side of things. And then there are the mathematical models: perfect renderings in graphite on paper that are then backed by steel plating and mounted in three dimensions—model and copy in one. ‘To draw in space,’ is how Gonzalez described ‘this new art’ forged from ‘points in the infinite’ (he was speaking of stellar constellations). Berseth knows what he means.

    Published in ArtReview, March 2013

  • REVIEW: Krzysztof Wodiczko | Galerie Lelong | ArtReview

    Krzysztof Wodiczko, …OUT OF HERE: The Veterans Project, 2009-11;
    Installation View, Galerie Lelong, New York, 2011

    Painting has long given up the ghost on the Renaissance metaphor of acting as a window onto some other world; it now has to battle it out as just one more screen among many.  Yet it is surprising how few of those screens have taken up this metaphor for themselves.  Of course Hitchcock’s Rear Window (1954) made the case for cinema as voyeurism, and along less mainstream lines, both Michael Snow’s Wavelength (1967) and Richard Serra’s Frame (1969) probed the limits of fenestrated filmic perception and cognition.  To my knowledge, however, no practitioner of the camera arts has equated the screen with the window, has literalized this metaphoric relationship, quite as effectively as Krzysztof Wodiczko…

    Read the rest in the forthcoming May issue of ArtReview or on ArtReview Digital.