George Shaw, reporting live from the launchpad…
Tom Sachs, The Cabinet, 2014
Tom Sachs, Rockeths, 2017
Tom Sachs, Rockeths, 2017 (detail)
Tom Sachs, MESA (MOdular Equipment Stowage Assembly), 2007-2012
Tom Sachs, McMasterbation, 2016
With a long-held obsession for remaking objects of fascination in small and large scale, Tom Sachs presents his very particular DIY approach to the space program, Hollywood celebrity and basically anyone who has affected him, with an expansive show at Sperone Westwater. With every object made carrying personal meaning, Sach’s pseudo-scientific, pseudo spiritual constructions can be read through an autobiographical lens that, in time, may start to resemble Freudian case studies. His commitment to bricolage is serious and deft, while his process-oriented practice doesn’t always take itself too seriously.
Kris Kuksi, A Neo-Minoan Landscape, 2017
Kris Kuksi, Consensual Seductions, 2017
Kris Kuksi, Consensual Seductions, 2017 (detail)
Kris Kuksi, Maneuvering Tranquility, 2017 (detail)
Kris Kuksi, Salvation! and It’s That Way, Over There, 2017 (detail)
Inspired by classical art and architecture, as well as rococo and baroque aesthetics, Kris Kuksi’s surreal universes at Joshua Liner Gallery are painstakingly intricate constructions of extreme physical and narrative depth. The levels of detail evoke an almost hallucinatory effect when time is spent viewing each assemblage from macro to micro, with some patience and determination. Kuksi guides religion, war, sex, violence, and industry as a group down various discordant, eerie, and chaotic paths. These combinations of elements create new visual relationships and meanings, as if history were being rewritten.
Saad Qureshi, When the Moon Split, 2017
Saad Qureshi, Path to Light, 2017
Saad Qureshi, Secret Garden I, 2017
Saad Qureshi, Secret Garden III, 2017
British artist Saad Qureshi has long been captivated by the fable about The Prophet Mohammed splitting the moon in half to prove his power and devotion to sceptics, which others believe this will happen instead on Judgement Day. At his exhibition at Aicon Gallery, Qureshi splits a giant moon sculpture to reveal the dualism of past and present, myth and prophecy, body and spirit. Surrounding this haunting sculpture, are night-time scenes of harsh, desolate landscapes under moonlight that evoke a lunar barrenness blessed with the fertility of middle-eastern oases.
