1.) The Kelly Richardson survey at the Albright-Knox Art Gallery has many good moments, but none are better than walking into Mariner 9 (2012), the UK-based Richardson’s biggest, newest work. For about 15 minutes I watched people walk in and then suddenly stop, as if they’d collided with a pane of glass. Mariner 9 is a significant work: Its mix of fantasy, history, faux-history, and data-driven construction give artists who are interested in landscape and man’s impact on the planet(s) a lot to think about. And it’s effin’ rad.
2.) Richardson’s A Car Stopped at a Stopsign In the Middle of Nowhere, In Front of a Landscape (2001) recalls the way Eadweard Muybridge, Alexander Gardner and other 19th-century photographers added clouds to their landscapes. With a different technology, Richardson does too.
3.) The Albright is also featuring a small, Harwood-sourced show of work Agnes Martin made in Taos between 1947 and 1957, the years in which she worked through a biomorphism-inflected abstraction. The show’s works on paper are more interesting than the early paintings, with the exception of the untitled ca. 1957 work above. It looks like a key transitional work, like Martin’s version of Mark Rothko’s 1949 canvases.
4.) Rachel Whiteread’s Untitled (Domestic) (2002), which the A-K co-owns with the Carnegie Museum of Art, in a big, airy, Edward B. Green-designed entry gallery? Oh yes. A special, special installation.