Claudio Coltorti at Galerie Hussenot

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So close!

Past: Richard Aldrich

"Aldrich's befuddlement of the terms and conditions of paintings makes for obtuse, tangential starts digressing from those painting histories generally acceptable as beginnings. If the paintings seem facetious or frivolous it is because Aldrich doesn't necessarily venerate the histories that are painting cannon, and so which attaching almonds to a painting is not only a thing to do but becomes naturalized as a term of painting - possibly - as all the talk of flatness once was...

"Because surely there is actually a fool doing this full time."

Read Full: Richard Aldrich at Adrian Rosenfeld, Richard Aldrich at Gladstone Gallery, Contemporary Art Quarterly: Richard Aldrich

2020's Figurative Painting Bingo

Martin Puryear at Matthew Marks

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A sculpture that misleads. Hard to take in. Creates two rooms. A hidden internal structure and in another world, the one we occupy, the anode gathering air. Going to somehow turn us inside out. 

 Past: Martin Puryear

"...what had been its throwback vintages, traditionalism, seems now prescient of trends of biomorphic sculpture and its use of vague forms, distributed or unplaceable referents, the sort of innuendo formation of meaning, whats in your head may not lay in mine, contemporary even." 

"in which any Stadelschulite handed these objects, packaged à la mode instead of as craft, would look “fresh;" fresh as septuagenarian's handiwork."

Full: Martin Puryear at Parasol unit, Martin Puryear at Matthew Marks

Martine Bedin at Crèvecoeur

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Art is a ludicrous object, a Rube Goldberg device for some strange cultural malignancy. But art's basic forms mask the inanity. Painting is a format that seems to tautologically explain itself, it's a painting, it's meant for walls. In this way artwork falsely naturalizes. Bedin's objects evolve structures that prevent naturalization, like peacock tails they are partly too stupid for this world, but somehow biologically necessary. Design which refuses to be necessary, importantly. 

 Past: Lewis Hammond at Casa Masaccio

"Dark in amber, scenes held in brown glass. A "wine dark sea," a Homerian world devoid of azure. ... scenes reflected in another substance, using a mirror to inspect the bathroom, ... An aberration in the glass or in you."

 Past: Lewis Hammond at Casa Masaccio