Amsterdam
Richard Notkin
Billings, MT
“Against Design”
Philadelphia
Grisha Bruskin
New York Marlborough Gallery Grisha Bruskin, Woman with Lenin’s Mausoleum, 1999. Porcelain, 8 in. high. Staring straight ahead with blank, unseeing eyes, Grisha Bruskin’s perfect figures are identifiable only by the objects they carry. Like a blank slate waiting to be written on, they stand motionless, soulless, and powerless awaiting orders: gray, robotic, expressionless people
“I and My Circumstance: Mobility in Contemporary Mexican Art”
Montreal Montreal Museum of Fine Arts Gabriel Orozco, Blue Sandals, Cibachrome print, 31.5 x 47.3 cm. This group show of contemporary Mexican art breaks the stereotypes of Mexico as a folklore culture lost in time and of Mexican art as magic and/or social realism.
Gabriele Stellbaum
New York Florence Lynch Gallery ln her first solo exhibition, Gabriele Stellbaum, a German artist living in New York, showed strong and exciting new work. A young artist experimenting with new media to great effect, she uses computer-generated imagery to create sculptural installations.
“Acoustic Architecture—Architectural Acoustics”
Amsterdam De Veemvloer lnstallation view of “Acoustic Architecture- Architectural Acoustics,” at De Veemvloer. Amsterdam’s Stichting Vedute (Vedute Foundation) recently held the exhibition “Acoustic Architecture- Architectural Acoustics, ” which required works to meet specifications set by guest curator Frans Bevers: “[Artists should] visualize their personal preoccupation with sound and space into the confines of 44 by
Sculpture and Architecture
Atlanta “Architecture?”Vaknin Schwartz Gallery“From Our House to Your House”Nexus Contemporary Art Center“Landscape-City: Photographs by Arwed Messmer”Goethe-Institute Atlanta“thinking loud/cutting through: architecture.art.film”Space 1 181 Kerry Schuss, 838 S. Broadleigh/Two Views, 1999.
Margaret Adachi
Santa Monica Robert Berman Gallery Things aren’t always what they seem. ln fact, in consumer culture they’re usually better. At least that’s what Margaret Adachi’s new installation, Pret-a-poulet, suggests. Exploring the chasm between reality and what the philosopher Jean Baudrillard calls hyperreality, Adachi parodies the processes by which consumer products both spearhead market desire and
Phil Frost
New York Jack Shainman Gallery While many graffiti artists have, over the last 20 years, made the leap from street into gallery as respected painters, a new generation is embracing sculptural installation as its form of expression, taking viewers into realms created in gallery spaces that convey urban themes and personal symbolism.
