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In Maria Hummel’s new novel, two women (Edith and Lacey) form a friendship as children that lasts into adulthood, but at the start of the novel, they’ve been estranged for more than forty years. Chapters shift across time, the novel focusing mostly on the privileged Lacey Crane.
This is no trickery: the pleasure of an optical illusion is in illumination, proliferation. In these dexterous (at times, ambidextrous) poems, fog is not disorientation, for the book’s title is subject-predicate more than adjective-noun: fog notes, draws attention, sketches—mementos to the self, tasting notes, half-caught snatches of music.
Astrid Klein’s “photoworks,” on display in New York for the first time at Sprüth Magers, operate on several levels. The eight photographs of collages, printed at movie-poster scale using a photographic enlarger, depict female film stars of the 1960s and ’70s.
Monster Mourning is a delightfully unhinged-in-the-best-way evening of movement, music, and storytelling created by Workum and Weena Pauly.
Leaving Earth, Mary Lucier’s immersive video installation at Cristin Tierney, tests the limits of attention with its Whitmanesque expanse. Nine screens, set on individual poles around the room, like a grove of monitors, feature unsynchronized video loops, some with sounds.