Saturday, October 20, 2018

Ivy Haldeman at Downs & Ross


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The sexy hotdogs, as a friend said, but there's no hotdogs here. Yet the sex remains, latently.  Oldenburg innuendo slicked to the surface, in the stroke of the brush we could call lascivious. The same strokes that delineated super hero breasts comicly. In latex suits forming questions other comic artists posed as, "Is Amazon Girl's super power the ability to squeeze that figure into that suit?" Squeeze that meat into that casing. Besides a few hands, here the meat is removed, only the surface remains. The move from painting products to business suits perhaps stating an equivalent that's uncomfortable. Is the suit the product, or a surface of sex that sells? Or, maybe hotdogs weren't selling that well. "Our focus is on incremental volumes and mix improvements coming from new products." Because these are products. Eventually, the question of fitting into suits is answered with the perhaps empowering, "Nah, they can all do that."

Friday, October 19, 2018

Past: Martin Soto Climent

"the curve of inside into out, curving exterior into insides, an expression of explicit vulnerability distinct to the anthropomorphic... a faint pubescence of gender, objects just arriving at a split, a fork budding semblance of gender possibility, blushing blues and corpulent pinks."


Past: Martin Soto Climent at Michael Benevento & Yuji Agematsu at The Power StationMartín Soto Climent at Proyectos MonclovaMartín Soto Climent at DREIMartin Soto Climent at Atlantis

Judith Eisler at Casey Kaplan


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A critique toward the pre-loading your brush with content, forcing its representing the priorly ordained, would seem unfair against today's every other painter evacuating it - though Richter and Tuymans bleeding out of their images content despite it, might provide the real answer to content re-presentation. And the PR's dance around the issue of this recycling - can't you just wait for a writer to invoke Hito Steyrl's "In Defense of the Poor Image" about these - instead rams that the point is the paint, whether to ward off any conceptual jabber or maybe bait it in review hard to tell. "Eisler questions whether light is a substance or a process." which weirdly enough is exactly a Quora question you can read click here. A weird worry that art is asking questions that science is answering. Which maybe is why we're asked to look instead at the paint that culture values in these.


See too: Luc Tuymans at David Zwirner

Thursday, October 18, 2018

Past:  Claire Fontaine

"People hate Fontaine. It's easy to see why, and a particularly searing example by Chris Wiley for Frieze (e.g. 'I also consider the mealy-mouthed, jargon-besotted forms of this political position’s promulgation – utilized by the editors of Tiqqun, Fontaine and others – an impediment to reasoned debates surrounding political change, as well as a crime against language' a single sentence in an unending screed against the work) is the front and first review of one of Fontaine's gallery's press packet on the artists. "

Simon Dybbroe Møller at CAC Vilnius


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Like a less stupid Bader, a less virally aggressive Wolfson. There is a surrealism undercurrent in the world turned into an image. You can kind of tease it, the world. Make it do things. Sort of tickle it into laughter. A running gag.

Tuesday, October 16, 2018

Sam Falls at 303 Gallery


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The whole premise of "process-based abstraction"'s ability to create souvenirs of experience you didn't have is premised on some vestigial trait  of conceptual that may never have existed. I.e. does On Kawara painting "January 22nd 1988" on canvas actually mean anything outside a finger toward it.  Does an artist in the forest placing native plants on a canvas actually contain its sound? What information is stored? The signifier does not actually contain its signified, I thought we understood that. No cares seems to care where the canvas is wove, where the pigment is made; no we only care for the image which ostensibly means something, stupidly. Both "index" their world, other artists.

Monday, October 15, 2018

Stan VanDerBeek at DOCUMENT



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A photo of a projector. Two photos actually, of 19. While a video is provided, the photos are an assertion of your missing something, even of the object we usually ignore. An object photographed as totem to the distance between you and what you clicked to see.