Tag: photography

For ‘Time Out New York’ Magazine

Even if Dan Perjovschi’s doodle-like, politically charged wall drawings seemed a little out of place in MoMA’s pristine atrium last year, the incongruity created a certain frisson. His first New York solo show is just as arresting, despite being relegated to a much smaller space. Using white chalk on gray walls, the artist turns the gallery into a giant blackboard on which he has scrawled lively if uneven critiques on issues ranging from the environment to Iraq.

Perjovschi’s nervous line, and his tendency to overlap bold and faint images by erasing as he goes along, give his work an energetic, experimental feel. On the downside, drawings of a naked derriere surrounded by puckered lips and of a puppeteer making anonymous figures dance, amount to little more than generic symbols. Perjovschi’s spontaneous approach often misfires, as in his unnuanced drawing of a giant trash can scrawled with .

Most of the time, however, Perjovschi’s economy of means yields more trenchant results. A sun labeled rich on one side and poor on the other emanates more rays on the “poor” side—a concise commentary on the inequity of global warming’s impact. The clarity, punch and provocation of such pieces suggests that they’d be just as at home outside as in a gallery—which would be just as well, given Chelsea’s recent profusion of mindless street art.

For ‘Time Out New York’ Magazine

Diana Thater has spent the last year learning all she can about chess and falconry, but don’t expect her latest video installations to provide much edification on either topic. Thater doesn’t seem interested in educating her audience about these ancient pastimes, leaving the viewer frustrated as well as tantalized.

Unlike the participants in a dog show, raptors don’t take too kindly to competition, so the set-up of the exhibition’s most engaging video, Horus, is immediately puzzling. As Thater’s camera swoops overhead on a crane, falconers of different ages and sexes sit with their birds in an atmospheric ampitheatre as if waiting to go on. Nobody goes anywhere, however, which only makes you wonder what all the medieval-looking hoods, straps and other equipment used to calm the birds say about the piece’s apparent subject – the relationship between falcon and handler.

Likewise, Thater promises stories without really telling any in a series of individually titled video reenactments of legendary chess matches. In Gary Kasparov vs Deep Junior, for example, we see the legendary Russian grand master pitted against a computer, a contest which certainly offers fertile symbolic possibilities. But absent the gallery’s explanatory handout, it looks just like the other videos in this group, all of which show similar scenes of hands moving pieces on a board. Even so, Thater’s work, beautiful as it is, inspires at least an appreciation for her subjects (her players move their fingers with the poise of dancers). It may entice you to find out more.