Hearne Pardee

More Articles by Hearne Pardee

Elena Sisto, Rapunella, 2018. Oil on linen, 24 x 30 inches. Courtesy of the artist and Bookstein Projects

A New Ecology of Signs: Elena Sisto beyond the studio

Sunday, October 21st, 2018

As We Dream at Bookstein Projects through October 27


Shared Spaces: Dona Nelson Brings Back The Figure

Thursday, April 20th, 2017

The new works stubbornly resist any reduction to decorative backdrops; extended through May 13

Installation view: Victor Burgin: Midwest, 2016, with still from Prairie. Cristin Tierney Gallery, New York. Photo by John Muggenborg.

Destructive Modernism: Two exhibitions of Victor Burgin

Saturday, October 1st, 2016

Recent projections at Cristin Tierney, work from 1976 at Bridget Donahue

Allen Ruppersberg, The Singing Posters: Poetry Sound Collage Sculpture Book, 2006. installation shot in the exhibition under review

Space is the Central Fact: The Beats at the Centre Pompidou

Thursday, September 8th, 2016

“There’s an appealing narrative, with a French inflection, to this voyage of marginalized individuals”

Philip Guston, Painter, 1957-1967 at Hauser & Wirth, April 26 to July 29, 2016. Courtesy of Hauser & Wirth. Photo: Genevieve Hanson

Roundtable: Philip Guston at Hauser & Wirth

Thursday, June 9th, 2016

with Katherine Bradford, Gaby Collins-Fernandez, Stephen Ellis, David Humphrey, David Rhodes and Jennifer Riley

Mary Lucier, Color Phantoms with Automatic Writing, 2015. Installation, as seen in "From Minimalism into Algorithm," 2016, at the Kitchen, New York. Courtesy the Kitchen, New York. Photo Jason Mandell

In a Distant Temporal Realm: Mary Lucier at the Kitchen

Saturday, February 13th, 2016

part of “From Minimalism into Algorithm” celebrating 45th anniversary

Travis Collinson, Pinkie was painted by Thomas Lawrence but what if blue boy was a beat poet (Paule), 2013-14. Acrylic on linen, 64 x 48 inches. Collection of Berkeley Art Museum/Pacific Film Archive.

Relentlessly Engaged: Paule Anglim, 1930-2015

Monday, April 6th, 2015

with comments by Annabeth Rosen, Wayne Thiebaud and John Zurier