Sunday, August 28, 2016
A press release staging the objects in the doorway of the libidinal. Oft stated: Art is an object determined and structured by our relationship to desire, an object created of what we want to see exist in the world and even the staggering repression of desire by someone like say Christopher Williams becomes instead paraphilia rejection of bodily pleasure, instead expressing bodily shame, instead only the over-clean pleasure of what the product affords, a fetishistic antipodal relation to desire, and thus sick, circling all our hairy wet need. But so less oft said is our current and growing vogue for the micro-attention to the formal aspects of art begins to further and further be capable of discussion in terms of sexual fetish, desire is rerouted into inanimate objects, feet latex or the suspended touch leaving them blue balled and in agony.
See too: Fetish, Phillip Lai at Modern Art, Chadwick Rantanen at Essex Street, Olga Balema at Croy Nielsen
Saturday, August 27, 2016
"Fertility goddesses for the contemporary imagination;" the objects are a "fun" ironizing of femininity's tropes, of the goddess, a winking jest mocking the less progressive constructions of "woman" with comic timing while still being shackled to it. Whether we've moved past patriarchally constructed versions of woman (we haven't) we still get to feel some small relief of casting here the equivalent of a semiotic hex against it, which while cathartic still shows how brutally insistent those images are. The women branded 2016 to mark this moment.
Friday, August 26, 2016
The behatted Kelsey's John Marinesque Watercolors prove Kelsey doesn't have anything to prove after decades romancing the artworld and sailing the echelons of cool across gallerist, artist, writer, fashionista etc. etc, finally expelling the exhaust of hyper aspiration where, like the mythic painted-in-secret still-life paintings of Clement Greenberg, the critic expended relaxes into the comfort of Sunday painting. The cash-in could be eyerolling but the watercolors are endearing in the attention to the body exhausting itself, fights are exhausting, which you can't but think now too of Kelsey - pretty much on his own death-bed of cool - reflecting his own exhaustion and while the legs arms often turn to overcooked elbow noodles, the determination to capture the body is present; the whale stuff, while coy, is shit.
Thursday, August 25, 2016
You'll have zero idea what's going on here if you don't already know the projects, though you can make a guess. BC's absorption of fashion-means (not necessarily the clothes as McGuffin that they are) can't really be under-stressed. Launching a hundred like-minded careers since, BC weren't the first of the fashion-orient but their understanding its "based on mythmaking and seduction" opened the eyes of today's Genzkenites to the aura preceding their deluge of material whateverness. Brand was the powerforce of the artist, and confusion, misalignment and just stuff could dissolve objects to the narrative-sans-critque, seen performed in the phenoms of today everyone from Arakawa and Bratsch to half the surround-audience gen and trickling into some of the post-krebberites conceptual horsing. Much of BC's project was pointed despite its intended then dispersion that now in exhibition looks like the miasma of the younger's extraction of it.
See too: Stewart Uoo at 47 Canal, KAYA at Deborah Schamoni
Originally Posted: January 20th, 2016
Note: This entry is part of August Review, our annual look back at this season’s key exhibitions. For more information, see the announcement here.