Thursday, September 29, 2016
The severity of its blankness softened by form massaged to the shape that becomes the content of its extreme legibility: graphic and squealing. Extreme legibility; insta icons semio-traverse space to possess recognition, without it, the psychoactive element of Miller: getting struck in the face with blankness.
Amanda Ross-Ho at The Pit, Charline von Heyl at Gisela Capitain,
Wednesday, September 28, 2016
Irrepressible loveliness of paintings today blooming and bruise color as stains: we can't precisely handle beauty unencumbered, it must self-erupt as painterly stigmata. The material ooze, blood of painting conjured by the neo-occult painter. Braun by no means a great example of the vogue since predating it by a decade, and, on occasion, even applying paint, but look back and see in his history a painting that predicts every painting made today.
See too: Mathieu Malouf at Jenny’s, Max Brand at Off Vendome, Vittorio Brodmann at Halle Für Kunst Lüneburg, Vittorio Brodmann at Freedman Fitzpatrick, Vittorio Brodmann at Gregor Staiger, Jana Euler at Galerie Neu & Portikus, Sergej Jensen at dépendance
Tuesday, September 27, 2016
Monday, September 26, 2016
Saturday, September 24, 2016
The compositionalizing effort. Arrange space to offset it, call attention to itself. The metal protrusions that highlight a body, like earrings, piercings or halo pinned to your skull. There's an erotic element to piercing, allowing someone that access to your body, to puncture it, the gallerist's giving to the artist. Like Krebber making explicit his hesitation in painting in order to highlight (to absurd levels) the artist's consciousness, composition in sculpture is a game to highlight the object in an askew flatness, the thought that went into it, so can't forget about that ghost.
See too: “Being Thing” at Centre International d’Arte et du Paysage & Treignac Projet
The aesthetics of our mythic urban ruination, fragments. Google results: "35 of the most Hauntingly Beautiful Urban Ruins" "Urban Exploration Tourism" "Beauty in Decay" " Amazon.com: Beauty in Decay; A visually stunning book" showcasing the wider appeal of our desperation, of our ruin. McCarthy's The Road on Oprah's book club. "For at least a year Rochelle Goldberg’s steel structure will be submerged in the water of Buzzard’s Bay." Children's films set post-apocalypse. Hopefully: a tiny little shaman to lead us out of our fascination with desperation and not back into it, like so many moths attracted to artificial light.
See too: Cathy Wilkes at Kunstmuseum Linz
Friday, September 23, 2016
(Academie Conti, Le Consortium)
Print the painting, how cold and deliciously malevolent it all seemed at the time until our own body temperature fell so low to match it that eventually even Scheljdahl felt warm towards a retrospective of them. Everyone stressed endlessly the physicality of them, that poor ol' Guyton had to actually tug them out of the printer, that it was tough work, a little sweat, a little body heat, not absolute zero, but this extraction only served to underscore the fantasy of the creative act soon able to be stretched out from digital ethers like raw id tugged from digital subconscious, and erect in a gallery. That would could lose our hands in the printing press because soon our wet desire would just print itself as diamonds on a wall, we could stop tugging them off in studios, and the Onanist accident of it spills and smears prevented reproduction, the accident made them unreproducible, sterile.
But now 2016 in the era of Atkinsian avatar-conciousness, and Rachel Rosist digital semio-corruption we understand that the digital was just a new pool to self-reflect in, and we're still looking into it wanking. Look a Guyton self-portrait appears up in it.
See too: Zak Prekop at Shane Campbell, Cheyney Thompson at Raucci/Santamaria, Daniel Lefcourt at Blum & Poe