Friday, October 20, 2017





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Ruth Asawa at David Zwirner


(link)

"David Zwirner is pleased to announce the gallery’s first exhibition dedicated to the work of Ruth Asawa since having announced the representation of the artist’s estate earlier this year."
And like that the Asawas sprout all over Manhattan, in group shows, in windows, on CAD, museums, the Whitney, recently acquired by MoMA, moved out of backrooms as though its suddenly now time to care when there's something to be made of it. The collective rolling of eyes goes unharnessed.

Thursday, October 19, 2017

Wilfredo Prieto at NoguerasBlanchard

(link)

The Rorsharch tests that nature makes. Predators don’t search for meaning. God gives them to ours to mock us: the more inkblot-like mammals resultant from human domestication; wolves, foxes, and bovine undergoing human selection make Rorschach blots appear. Like God putting an easter egg in genetic biology. Messing back a message to those messing you. A good God joke. Whats are cows but a human technology for dairy. A narrative which our artist, well pedigreed in conceptual art, deploys in good conceptual fashion, using objects as representations for talking points. The best of which mutate in the beholder's eyes, an object as phantasm, visions for whoever is seeing it, to then be concretized in words like these, beautiful.

John Ahearn and Rigoberto Torres at Alexander and Bonin

https://www.newyorker.com/magazine/1992/12/21/whose-art-is-it
Past: Lonnie Holley

"the psychotic level of things touching in culture"


Read full: Lonnie Holley at James Fuentes
Read full: Lonnie Holley at Atlanta Contemporary

Past: Math Bass at Michael Jon & Alan

"Painting in the virtual space that our world increasingly appears. Space becomes an information deployment system, and layout becomes highly organized studied and manipulated. Style becomes a corruption of the subject. Reflecting the increasing prevalence the interface over the image."


 Read Full: Math Bass at Michael Jon & Alan

Tuesday, October 17, 2017

Matthew Brannon at David Kordansky


(link)

The decision to represent the mess of history with the cleanliness of silkscreen graphics - opposing the usual hair representing its miasma - commendable if symbols and things didn’t present their own interpretive vague, a tidiness become question of what’s been scrubbed. “the war from which my generation sprung was rarely spoken of.” cleaned to ominousness.  The “short timer” calendar, explained in the pr,* becoming glyphs for the artist object, interpreting another, the “soldier-‘artist’.” The “soldier-‘artist’”, the object-subject, the theater pieces Brannon has continually moved into, an interpretive scenery invented.

*“someone with less than 100 days left on his tour. During the war, some would draw calendars, often lewd, to count down their time. Brannon’s research led him to compose fictional renditions”