Friday, November 17, 2017



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Sayre Gomez at Ghebaly Gallery


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Painting the walls of your cage generally comes in less literal forms. The artist as tempestuous gorilla acquiescing to perform his own repairs on the prison of his cell, look how nice these bars I have erected are, how polished this fencing. When you could simply change the focus to what's outside. Instead some vague construction. The old predicament of art, to peel away the stickers marking the surface of cynicism: our Bad Boy Attitude. Elegiac Walls. All if this is obvious, it's right there, legible; the point is that it’s alluring. We want to keep them around.

Wednesday, November 15, 2017

They come three, four, at a time. Zebra hard to chase not because the stripes provide camouflage but because the predator cannot single a specific focus, i.e. with overabundant choice the selector's (predators) cognition malfunctions; you see lions, surrounded by cheeseburgers, acquiesce, lay down, stupefied by movement, flow, numbers which disrupt the ability for sense, sensation ruins, the surface effect which short circuits our ability for recognition, to choose, to see indivuality for a moving surfae of pattern and stripe across a broad plain of thing. Eventually the lions that do not starve in the face of such are selected for reproduction.
Past: Susan Cianciolo at Modern Art

"Knowledge is kept on rapidly acidifying papers, stored in databanks we anodize against oxidation in deep storage basements to feign permanence, our security. But the world slowly deteriorates, look into the issue of archiving, it's complex nuanced and impossible, it's baby blankets spilled on, barfed on, a biological archive cum Banker's boxes purchased by the gross. Your touch leaves a mark, sews a patch, you reproduce yourself in the objects you attend. Preciousness in warm cardboard, wearing touch, eroding to someone"

click here for full: Susan Cianciolo at Modern Art

Monday, November 13, 2017

Carlos Almaraz at LACMA


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“He was the depictor of that community and scene just as well as Monet or Renoir depicted their communities,” Marin says. Its true he got LA's acidic light right, the car "Crash in Phthalo Green" is barely brighter than the astringent sun, all the colors in Almaraz's paintings seems chalked by the sun, bleached to a sort of wasted otherness, just like LA.
Past: Lin May Saeed at Jacky Strenz
"Lin May Saeed likes animals, and communicates that by making art depicting animals. Its forthrightness would seem naive if it weren't so endearing, handing it right to you to care for its fragility... the sign intertwined with its loss"


Click: Lin May Saeed at Jacky Strenz

Sunday, November 12, 2017

Sherrie Levine at David Zwirner


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Images both are and aren't generic, even the most bland are still specific singular instances of a larger regime of similar images, like stock photography's multi-cultural workplace theme. Images become soft by their ubiquity, their dispersal, a continual re-staging erodes their specific edges to become some semi-solid substance of genericness. And any new instances are based on the patterns of the last one. Iconic photographs are often predicated on a tension of specificity given to a ubiquitous theme, a concerned mother, a puddle jump, a flag raising, each iconic image eventually returning to some blank marker of vague icon. Each remembrance is like an appropriation, a rephotographic theft of its specificity to soften it back to the soup of ubiquity, of theme, of trope, back to stock image.


See too: Sherrie Levine at Simon Lee