Thursday, February 22, 2018

Than Hussein Clark at GAK


At its most extreme the proposition may be that art is not as valuable as the context surrounding it.  That the spaghetti dinners attribute diamonds their value. And so the context, under new light, grow baroque, wilt new leafs, gilt themselves in preparation for their spotlighting, put little balls on their feet so as weight their connection to it, the theater.

Past: Than Hussein Clark

"...staging the objects as theatrical their vacancy becomes strength, hollowness holding a surface for eyes to move and containing whatever importance the narrative can attribute it..."

"a category optimistically defined as a risque entertainment that absorbs and harbors the fringes of culture, an ideal art that would dissolve lip-service to post-modernity still aggressively holding on to the autonomous work. It's like championing spaghetti to replace diamonds. We would have to give up the authorial subject for the carnival ... the curatorial address of throwing it all in and letting god sort 'em out with song and dance."

Past: Thomas Bayrle

Wading through repetition of criticism that bogs Bayrle produces the same repetition fatigue of the paintings, trying to extract endless allegory out a single metaphor. [...] expecting mechanization to ensure repetitive homogeneity, instead an endless individuation, the paintings do contain some abhorrence befitting the current situation, "It’s what Bayrle calls the quality of quantity, or the process of making pure quantity into a quality."

Click for full: Thomas Bayrle at dépendance,
Click for full: Thomas Bayrle at Institute of Contemporary Art Miami

Wednesday, February 21, 2018

Past:  Jos De Gruyter and Harald Thys

"Painful, de Gruyter and Thys' developmentally delayed style, filled with speech impediments, slow progress, and language drifting into nonsense, is, like von Trier's early film, an idiocy against social decorum, our socially vulnerable conversations, socially conscious films, replayed by the slow and impaired... banal horror of too-much, of waste, of, in spite of such, cruelly, maniacally plain smiles."

Jos De Gruyter and Harald Thys at Gavin Brown
Jos de Gruyter and Harald Thys at Wattis
Jos De Gruyter and Harald Thys at MoMA PS1

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Tuesday, February 20, 2018

Betty Tompkins at Rodolphe Janssen


For all the explicitness and its usual attendant cruelty Tompkins' candid blunt feels tinged remorseful for a subject that is denied the full blood of its humanity, a humanity replaced only with the lasciviousness of pornography - our genitals now denoting smut rather than humanity. Tompkins' Fuck paintings basically beginning alongside the advent of modern pornography's spread, a subject their painting seem to gather back from the photographic a pulse, restoring a faint heartbeat to the grid of measurement, reproduction; Tompkins' drawings are evidence of drawing's relevance in conjuring back something the photograph excises, holding its subject with the ginger hand of the pieta.

Darren Bader at Sadie Coles


Anton Chigurh: Don't put it in your pocket. It's your lucky quarter.
Gas Station Proprietor: Where do you want me to put it?
Anton Chigurh: Anywhere not in your pocket. Where it'll get mixed in with the others and become just a coin. Which it is.

You can see there this is going. Art, like lucky quarters, made indistinguishable from their unordained brethren, just a coin. Thrown into the pile of stuff the anxiety of an artwork lost, returning to common object, which it is.