CHERYL, the artist collective made up of Destiny Pierce, Stina Puotinen, Nick Shiarizzi, and Sarah Van Buren, sits somewhere on an axis that joins Mike Kelly and David Byrne, a mix of earnest absurdism and a regard for abjection that seems squarely a product of early-80s investigations into participatory dynamics and DIY spectacles. Lately, the crux of CHERYL’s production are obsessively orchestrated video works loosely composed around a theme that involve lots of fake blood, cat masks, choreographed dances, glitter, and gloopy food. As one part of the overall work, the videos are completed by chaotic dance parties held in a nightclub, gallery or museum. The entire affair comes off rather like the up-cycle of a bipolar swing, a manic rush to the top of the roller coaster hill fully aware of the drop to come.

An interview about aging punk rock, the failure of an empire, Jamaican steampunks, and the Freudian horror of art fairs.

Fabienne Lasserre’s elliptical sculptures, which mix high-minded concepts with a scruffy process, attain a fairly uncommon balance: they are serious but not stuffy, intuitive while being systematic, and referential without being appropriative. Overall they suggest a pretty nice way of being in the world – relaxed, curious, earnest, and good-natured.

The coasters, trains, planes, and funiculars of William Steiger: a self-reflective and somewhat mischievous exercise in which some reveries deflect others, dreams dissolve in midstream, and objects imply both their own selfhood but also leak out into other identities.

R. Luke DuBois takes on data visualizations, those snappy diagrams and charts accompanying every newscast and magazine article, and finds a poetic and highly personal visual methodology.