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Lubaina Himid is a painter who uses the canvas to experiment not only with the language of traditional art history, but also to engage with the social sphere. Many of her works exist, as Himid has noted, in “the moment between a question and an answer,” and in those interstices, audiences are invited to enter her exhibitions as worlds of their own making.
Entering Lucy Mackenzie’s exhibition at Nancy Hoffman, simply (and aptly) titled “Still, the viewer espies a channel of postcard-sized still lifes lining the gallery walls. If one is not familiar with Mackenzie’s work, they might be forgiven for mistaking her paintings for photographs.
Furniture is a loud presence in Fine Gråbøl’s debut novel, What Kingdom. For the unnamed narrator, furnishings witness and respond to her: “I’m especially absorbed by the chairs; the way they receive me and others in the room, the light on them in the mornings.”
I was riding up the elevator in the Whitney Museum’s Marcel Breuer building in the spring of 1977, “minding my own business” as it were, and unaware of a forthcoming shock, when the large elevator doors opened. I was stunned and thrown backwards by a John Cage-type experience of nothing. At first, I timidly stood still, but then with the danger of a closing elevator door, I stepped out onto the fourth floor of the museum where I encountered Scrim veil—Black rectangle—Natural light, Whitney Museum of American Art, New York (1977) by Robert Irwin.
Susan Rothenberg talks with Michael Auping about her studio on 112 Greene street.