Thursday, November 23, 2017

Martin Puryear at Parasol unit


You've seen all these imaged a 100 times before but now tinged with today 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.

See too: Ron Nagle at Modern Art“Ungestalt” at Kunsthalle BaselNairy Baghramian at Marian GoodmanNairy Baghramian at Museo TamayoNancy Lupo at Swiss InstituteKlara Lidén, Alicia Frankovich at KuratorPark McArthur at ChisenhaleOlga Balema at Croy Nielsen

Wednesday, November 22, 2017

Olga Balema at High Art


In other words - images, unable to be tactile, an inability to make sensuality palpable irrupts strange fetishes: pornography must materialize its sensitivities by finding visual equivalents for touch. Textures which express similar reactions in viewers. You see it in taut inflated anime breasts, shiny PVC covered genitals, leather, sheers, frill, an entire wikipedia article about "breast physics." The ornate knots of bondage are totems to the practice. Art too in attempts to manifest materiality in what that cannot be touched must adopt hyperbolic visual equivalents. Bodies that photographs well.

See too: Olga Balema at High Art

Tuesday, November 21, 2017

Past: Simon Denny at MoMA PS1

"...This "struggle," coming to terms with such description, is mirrored in much of the writing about Denny's work in which writers desperately search to find where the critique - that of course must be there - lay."

Past: Simon Denny at MoMA PS1

Olga Balema at High Art


Like grubs mating, the touch of moist plastic, people with fetish for balloons rubbing: there's a materiality present in the touch of latex forms, of stuff touching. Rub the vinyl, feel the taut leather naked and plastic man. Our touch, now more than ever, comes from sight, comes from packages of it in the high definition of images and advertising, we feel through sight, like pornography learning new sensuousness through seeing it commodified as objects, sexy.

See too: Olga Balema at Croy Nielsen
Past: Olga Balema at Croy Nielsen

"over-inflated carcass of rotting whale PVC fetishists"

Olga Balema at Croy Nielsen

Monday, November 20, 2017

Jonas Mekas at Missoni Boutique


Should art be banned from markets. Must we continue our lip-service against, shrouding the commerce of art, attempts at closeting it, pretend our silence is pesticide against it instead of allowing it flourishing in darkness. Expose it to air. Why shouldn't art be traded publicly beyond the stores we call galleries. Let it sell at retail. It would take a legend we can't possibly hate to do so.

Sunday, November 19, 2017

“Gótico tropical” at Centre d’art Contemporain Passerelle

Popular De Lujo (Gonzalo Díaz, Arnulfo Herrada)

Google translated: "Populardelujo is an interminated, interminable, empirical and mutant project dedicated to ordinary Bogota. We are particularly interested in the popular graphic call, understood as all those images produced outside of the mainstream media and outside the circuit of advertising agencies, design studios and universities.

We believe that by reviewing this visual culture with affection, grace and respect we are recognizing not only the value of an underestimated aesthetic expression, but contributing to give greater visibility to people, communities, experiences and customs that have not had enough representation."

Friday, November 17, 2017

Sayre Gomez at Ghebaly Gallery


Painting the walls of your cage generally comes in less literal forms. The artist as tempestuous gorilla acquiescing to perform his own repairs on the prison of his cell, look how nice these bars I have erected are, how polished this fencing. When you could simply change the focus to what's outside. Instead some vague construction. The old predicament of art, to peel away the stickers marking the surface of cynicism: our Bad Boy Attitude. Elegiac Walls. All if this is obvious, it's right there, legible; the point is that it’s alluring. We want to keep them around.

Wednesday, November 15, 2017

They come three, four, at a time. Zebra hard to chase not because the stripes provide camouflage but because the predator cannot single a specific focus, i.e. with overabundant choice the selector's (predators) cognition malfunctions; you see lions, surrounded by cheeseburgers, acquiesce, lay down, stupefied by movement, flow, numbers which disrupt the ability for sense, sensation ruins, the surface effect which short circuits our ability for recognition, to choose, to see indivuality for a moving surfae of pattern and stripe across a broad plain of thing. Eventually the lions that do not starve in the face of such are selected for reproduction.
Past: Susan Cianciolo at Modern Art

"Knowledge is kept on rapidly acidifying papers, stored in databanks we anodize against oxidation in deep storage basements to feign permanence, our security. But the world slowly deteriorates, look into the issue of archiving, it's complex nuanced and impossible, it's baby blankets spilled on, barfed on, a biological archive cum Banker's boxes purchased by the gross. Your touch leaves a mark, sews a patch, you reproduce yourself in the objects you attend. Preciousness in warm cardboard, wearing touch, eroding to someone"

click here for full: Susan Cianciolo at Modern Art

Monday, November 13, 2017

Carlos Almaraz at LACMA


“He was the depictor of that community and scene just as well as Monet or Renoir depicted their communities,” Marin says. Its true he got LA's acidic light right, the car "Crash in Phthalo Green" is barely brighter than the astringent sun, all the colors in Almaraz's paintings seems chalked by the sun, bleached to a sort of wasted otherness, just like LA.
Past: Lin May Saeed at Jacky Strenz
"Lin May Saeed likes animals, and communicates that by making art depicting animals. Its forthrightness would seem naive if it weren't so endearing, handing it right to you to care for its fragility... the sign intertwined with its loss"

Click: Lin May Saeed at Jacky Strenz

Sunday, November 12, 2017

Sherrie Levine at David Zwirner


Images both are and aren't generic, even the most bland are still specific singular instances of a larger regime of similar images, like stock photography's multi-cultural workplace theme. Images become soft by their ubiquity, their dispersal, a continual re-staging erodes their specific edges to become some semi-solid substance of genericness. And any new instances are based on the patterns of the last one. Iconic photographs are often predicated on a tension of specificity given to a ubiquitous theme, a concerned mother, a puddle jump, a flag raising, each iconic image eventually returning to some blank marker of vague icon. Each remembrance is like an appropriation, a rephotographic theft of its specificity to soften it back to the soup of ubiquity, of theme, of trope, back to stock image.

See too: Sherrie Levine at Simon Lee
Past: Sherrie Levine at Simon Lee

"...a less cruel and more seductive version of Mosset monochromes, whose destruction of content made their opaqueness a violence, and more like commodity forms, whose reproduction was their content and total-allure of surface their meaning..."

click: Sherrie Levine at Simon Lee

Saturday, November 11, 2017

Daniel Dewar and Grégory Gicquel at Portikus


Totems hewn of old-timey techniques, preloading new content with the time travel of the ancients. It works, the objects and their symbols feel pulled from primeval wells, they affect - despite their modern gastrointestinal - the look of something deep rooted. When Hirst applies gilt to goat horns or barnacles to statues it appears as chintz patinas; DD&GC's abraded by the time's digestion by building techniques pulled through with it.  In 2017, we desire wood, representations of the natural, a connection to a time when we touched things with our hands and our stores name themselves after objects of such lost: Iron Oak Spade Copper Rooster mad lib titling. Wishing our objects to connect us with a mythic past when we weren't cognitively fritzed socially gamified cyborgs, even if it isn't true the affect is there to make us feel better.

See too: Daniel Dewar and Grégory Gicquel at Micheline Szwajcer

Friday, November 10, 2017

Past: Jessi Reaves at Bridget Donahue

"...a reminder that, like all that stolen Ikea elegance whose eventual blown out corners reveal its making of all but compressed trash, underneath everything we desire to be is an intestinal makeup of sponge replacing its weight with rumors of dead-skin and dust-mites of a body threatening to turn fungal even while its pubescent biology meets identity, becoming gendered but threatening death..."

Click: Jessi Reaves at Bridget Donahue

Thursday, November 9, 2017

Chadwick Rantanen at Secession


"For his sculptures, Rantanen extracted the protective layer from rolls of new fabric, peeling it off like a layer of skin" like hospital's common procedure on horribly disfigured patients is to shave off sections of intact flesh into luncheon-meat-like sheets then run though a press into a mesh to be grafted over raw violence, like wallpaper pasted for cheery buildings hiding this slaughter, skins of paper garbage caught with arrows like St. Sebastian trussed with nice bondage knots, plastic bags caught in razor wire fencing, our trauma over mass trash hung over industrial steel drain pans portending the dripping we don't see but Rantanen has us inferring looming, like the plastics entering our blood, another sort of sublimated torture chamber type of deal.

Past: Chadwick Rantanen at Essex Street, “May the Bridges I Burn Light the Way” at STANDARD (OSLO)Chadwick Rantanen at Team (bungalow)

"The director of fetish crush films Jeff Valencia speaks often of desiring to be the subject under the feet of the crusher, identifying with the object/animal being crushed."

Click for full: Chadwick Rantanen at Essex Street, “May the Bridges I Burn Light the Way” at STANDARD (OSLO), Chadwick Rantanen at Team (bungalow)

Wednesday, November 8, 2017

Josh Kline at Modern Art


Deploying the strategies of retail spaces, SFX, digital tech, political adverts, i.e. the corporate technologies that prove, with money, you can deform the world to your whim, mold plastic to your hand, replicant people in bags, get dream Obama to pass basic income. It's Magrittean dream-tech for the whatever you can buy sort. Now 3-D printing the apocalypse. Enemy or ally to its strategies, everyone wanted to Instagram Kline's militarized Teletubbies, proving them valid in an economy of attention, the high-production gloss of mass culture virtually demands it.

See too: Venice vs TriennialTimur Si-Qin at Carl Kostyál

Tuesday, November 7, 2017

Jesse Benson at Michael Benevento


Making sense of the world through difference, categorization, exclusion, separating objects under different labels to make language, names, we, when paintings "involving the painstaking brushstroke-for-brushstroke hand replication of painted images" "re-painted by Benson with at least one visual deviation from the original" "and subtle gallery space alterations," difference and repetition becoming a see through thin, the asymptotic approach to image, falling towards the ground it aims at and missing, closer, closer, closer, feel vertigo.

Past: Jesse Benson at Michael Benevento
Past: Jesse Benson at Michael Benevento

"The lack thereof (of expression), neutering subjective, the closer it can be to being without qualities, is its psychedelic quality. The paintings warble in closeness to a reality that they fail to produce.

Click: Jesse Benson at Michael Benevento

Monday, November 6, 2017

“On Half a Tank of Gas” at various locations in New Glarus, Wisconsin


I wonder how many people came, I wonder how many stayed. I wonder what the people thought. I wonder if they felt it was an enriching cultural experience, I wonder if they had fun. I wonder if they talked about it afterwards. Did they laugh and later drink wine. Were they disquieted. Was the art, distinctly coalesced for this "Little Switzerland" town, only able to communicate nuance with a cultural context, finding Mike Kelly & Paul McCarthy's adaption of Joanna Spyri's most renowned Swiss novel, Heidi, and finding interest in the adaption's latent violence with characters as puppets for violent marionetting as revealing something instrinsic to it. Is the US's absurd level of interest in personal heritage, roots, DNA home testing kits hitting 2.6 billion$ market in 2014, assigning themselves sister cities, and "where your family is from" a cocktail question, is this interest undone by the fact that most contemporary artists today have little cultural heritage, besides the "international style" of Art, that contemporary artist implies the jettisoning of tradition besides the giant global one we conform to.

See too: “Work Hard” at Swiss Institute

Sunday, November 5, 2017

Julia Feyrer at Potts


Celluloid is a glass projecting images, frames and films seen through, the screen need not necessarily be silver, images are already projected on all the substrate of our heads receiving them. We see ourselves reflected in an on, the world's contaminated surface, us, seen reflected.

Saturday, November 4, 2017

Keith Edmier at Friedrich Petzel


Traditionally sensitivity isn’t emblazoned in high production's hard materials. Sensitivity is softness, not the fine detail of edges, resins, supermodels. The supermodel is, generally, not a thing of sensitivity, but violent eruption for complicated affinities, like Edimer's own relationship to precious romanticism, exemplified in Hainley's pop quiz from hell "20 Questions on Keith Edmier and Farrah Fawcett" leaves a sweating testee over multiple-choice: objects not complicit with categorical determination but manifold intakes:

"2. The best adjective to describe the overall effect of Keith Edmier and Farrah Fawcett, 2000, is:

See too: James Lee Byars at VeneKlasen/WernerSusan Cianciolo at Modern Art

Thursday, November 2, 2017

Anne Neukamp at Greta Meert


Recognition is a visual strategy used by the advertorial (logo) or systems (icons) that has reached saturation with touchscreens, GUIs, facebook forums. Our brains, wired for recognition, are berated with this, icons forcing recognition of themselves. Painters begin adopting this as their history, the magrittean version of objects as linguistic symbols. They delay the force of recognition as a palliative, lessening the slap of apprehension by averting it.

see too: Amanda Ross-Ho at The PitCharline von Heyl at Capitain Petzel, Charline von Heyl at Gisela Capitain, Richard Aldrich at Gladstone Gallery, Jana Euler at Galerie Neu & PortikusNina Beier at David Roberts Art FoundationEmily Mae Smith at Rodolphe Janssen,

Wednesday, November 1, 2017

Elaine Cameron-Weir at Hannah Hoffman


Detail: Elaine Cameron-Weir, FOR MAKE ADMIT THIS VOIDE, 2017, Rubber jacket, leather, orthopedic jaw fixation hardware, stainless steel, amber

New Sex-assemblage - barnacling fetishes, totems, trends for the dental, bondage leather, medieval role-play. Accumulates objects operating sublingual, registers of the dog-whistle objects that affect all the tools of kink, advertisements, and Dwell, touch you in your feels, pseudo-witchcraft creating concoctions of objects emotional, touching us.

see too:  Camille Blatrix at WattisAjay Kurian at Rowhouse ProjectKatja Novitskova at Kunsthalle LissabonNairy Baghramian at Museo TamayoNairy Baghramian at Marian Goodman
Past: Merlin Carpenter

"Has a more vacuous flaccid and dead show ever been done? An exhibition so empty it's like looking at ocean’s abyss. Carpenter has always been capable of the self-flagellating gesture, but this, this is like selling your flesh to pay the guy who owns your soul for its postage to hell, and you’re walking around bleeding without a shirt. This show makes Zobernig look like an academic painter. Codax like he paints Sundays."

Click Merlin Carpenter at Reena Spaulings
Click Merlin Carpenter at MD 72
Click Merlin Carpenter at Overduin & Co.

Tuesday, October 31, 2017

Günther Förg at Barbel Graesslin


It was hard to argue with the slightly stupified version of Forg's modernism. Awkward buildings colors and installations, scribbled pleasures later. Rendered dumb, it didn't speak to anyone, rather happy with, instead, simple existence, becoming a stone in the modernist pathway, a weighing down ideals of transcendence, like attempting to see a Rothko with a pile weighing heavy in your bowels, the work refuses to lift one beyond the limits of your earthly human presence, the usual higher pleasures lifting spirits instead hamstrung to leave you right where you already are.

See too: Heimo Zobernig at Kunsthaus BregenzHeimo Zobernig at Simon LeeHeimo Zobernig at IndipendenzaHeimo Zobernig at Petzel, Krupp, MUDAM

Monday, October 30, 2017

Past: Michael E. Smith at Sculpture Center, Michael E. Smith at Michael Benevento, Michael E. Smith at Zero, Michael E. Smith at Lulu, Michael E. Smith at Susanne Hilberry

"Bodily violence, its threat (a body to become goo as any other) is implicit to a work that treats materials as categorically promiscuous (surreal), e.g. if you can put Mario in the gallery sky or ocean's puffer fish under the table's summer sky, inflate them like footballs with whale ears, aren't you as wiling to place skulls at your knees. The disregard for the categorical order is like gore, crushing bodies."

Sunday, October 29, 2017

Roger Hiorns at ELI Beamlines Center


The burial of the machine. A proxy for our bodies we can continually imagine with earth pressed against metal. The rate of erosion is slow, it will never quite go away, for a continuous mental image of a corroding body. It's there right now, bacteria bumping against skin cold and metal, moisture leaking and permeating micro-fissures in the impervious coating. Objects buried, skeletons in closets. Hiorns concern for metal and meat, the infiltration of each other now an act of myth-making, storytelling, creating an oral history for our moral tales of art, the wall text.

See too: Roger Hiorns at Annet Gelink
Past:Roger Hiorns at Annet Gelink

"The Jewel-crusted success of Hiorns' sulfate almost eclipsed the less fabulous concoctions-as-representations for the surfaced body. Here the latex skins on polycarbonate panels - looking like congealing soup, e.g. Kristeva's abjection: breakdown between subject and object - the goo and strata of flesh and bone, and the machinic body ejaculating foam at the mouth, Hiorns' wild material divergence always expressed in dualities, steel and perfume, machine and foam, boy and fire, boy and gratuitously hulking aircraft engine, the bodily soft always set against its cold hard master..."

Friday, October 27, 2017

“Soil Erosion” at Altman Siegel


Erosion, de-territorizing the territory, trans-, slippage, sliding out as the rug under ones feet to find oneself estranged, decontextualized, recontextualized in a new alterity, with the "other", alienated, freaking out the square's box we're thinking outside growing potatoes, er tubers, er rhizomes in a new light of the distance effect of Brechtian modes, and seeing them having forgotten the name of thing one sees, but waking up with a perspective shift of the forest for the trees of artworld ways to say it.

Thursday, October 26, 2017

Kahlil Robert Irving at Callicoon Fine Arts


"Our growing attraction to garbage makes a psychologic sense as we become hostages to the trauma of dealing with it, the deranged images of garbage spewing, animals asphyxiated, learning of its intravenous networks sprawling across the landscape in unstoppable yet leaky pipes, garbage moved though our veins, seeing trash everywhere, [...] there's just stuff everywhere, stuff here a technical term for the quasi-differentiated mass, confusing a tarp, a trash bag and a tent."

Trash will become the fossils of our culture, picked through by deep future anthropologists foretelling the past what we didn't want to become part of our future. To see what we had no interest in bringing with us. Cast away. Like Melvin Edwards who reasserted the industrial body while minimalism pretended some purity in it, there's usually political content to the things we try not see.

see too: Melvin Edwards at Daniel Buchholz,  “May the Bridges I Burn Light the Way” at STANDARD (OSLO)Nancy Lupo at Kristina Kite & Yuji Agematsu at Miguel AbreuDylan Spaysky at Clifton BeneventoAjay Kurian at White Flag Projects

Wednesday, October 25, 2017

Alastair Mackinven at Reena Spaulings

Something on our faces.

Alastair Mackinven

Jana Euler

Mathieu Malouf

Janiva Ellis

Orion Martin

Jordan Wolfson

Caitlin Keogh

Picabia, etc.

Tuesday, October 24, 2017

Judy Chicago at Jessica Silverman


As ambiguous abstraction and bio-innuendo makes a stunning return to art, it would make sense Chicago comes with. There's been a resurgence of cats too. Orifices and cats, pussies, the feline, Schneemann, Carolee, and her cat kissing. A long history of cats in art, Bonnard, Manet, Egypt, etc. The dog doltish in comparison. The cat more sly, artistic, essentialistically feminine.

Literally, Cat butts: Autumn Ramsey at Night ClubAutumn Ramsey at Park ViewAlice Tippit at Night ClubTrevor Shimizu at Rowhouse Project

Monday, October 23, 2017

Mary Corse at Kayne Griffin Corcoran


Perceptuality in art feeling like a fossil dragged into the 21st century. Trends for "presentness"already been subsumed by our yoga practices and then trend the phone-films of airplane interiors and whatever other banalia which too aggrandized plain "experience" wondrous as any ice cold lightbox. Air and space focused on place which turned to "site-specificity" treating museums as church to it, turned by the young into experience as transmissable blips to light up the networks we all spent most of our experience more and more on anyway. Personal attendance seems like a morality, a penance to drag your body across.

Saturday, October 21, 2017

Adrian Piper at Lévy Gorvy


Looking through, there are facades and appearances and reflections of subjects. There's, like, layers of appearances, look at these two competing wikipedia entries, the en.wikipedia version and the version Piper corrected. You can read them through each other like glass overlays which look but don't touch, a drawing over a photograph of a subject:

Friday, October 20, 2017

Ruth Asawa at David Zwirner


"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


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
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


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” 
Past: Matthew Brannon

"Midcentury graphic design made as stifling as the era's social mores, Brannon's cleanliness hasn't ever felt nice so much as overbearing hypochondria. Cleanliness the expression of repression, and the clinicalness of printmaking anality becomes suffocating, even the friendly ones seem without air, ketchup like terror, nostalgia cleansed till the skin dries

Full: Matthew Brannon at Casey Kaplan

Monday, October 16, 2017

Pope.L at What Pipeline


If art is some alchemical process for value creation from nothing, then turning poisoned wells into monetary venture is proof; snake-oil sold as a souvenir to the ruse, the artistic swindle is absolved by irony, the buyer "in the know"enjoys the hoax of uselessness: "Flint Water ain’t for drinking, it’s for thinking!" Flint's water is unique afterall, an object of contemplation if there ever was one, lead transmuted to gold.

See too: William Pope.L at Steve TurnerWilliam Pope.L at Catherine Bastide

Sunday, October 15, 2017

Lisa Ponti at Federico Vavassori


There isn't a single photo of a painting, just install shots where white space crowns, a frame of real estate stands in for gilding, lighting like a halo. Then weirdly you can find some of them here, a 95 year old artist on A4.

See too:Brian Calvin at Le ConsortiumFlorian Hecker & John McCracken at Künstlerhaus KM- , Midway Contemporary Art

Saturday, October 14, 2017

Mindy Rose Schwartz at Queer Thoughts


Preciousness is difficult, overripening it bears whiffs of sentimentality, that saccharine brown fruit. [Byars probably our greatest in converting sentimentality, tempering his preciousness with a crappiness, a sort of poor man's gilding, funner to believe.] "craft methods that, although not lacking charm, are commonly dismissed as trivial or irrelevant." Which is true, we do symbolic violence, Distinction, through our tastes which we presume are some objective reasoning, not wanting to believed as a reproduction of class, its partitioning. Chintz is the realm of the agrarian, provincial, of the insipid populists, and dolts of whose outer-realms we prefer to flyover, that we, aesthetically astute, must continually decor ourselves and our realms in aesthetic objects against this, them, hang like hexes against; much of our aesthetics are built upon this.  To see craft and react.

See too: James Lee Byars at VeneKlasen/Werner

Friday, October 13, 2017

Niele Toroni at Museum für Gegenwartskunst Siegen


Doing already what everyone had been then wanting to, at the time everyone evacuating subjectivity, cutting of their hands to meld with their electronics, printing paintings, graduating Staedelschule, designing algorithms to produce them for them, and then Toroni there plodding ad infinitum, as if the painting could stretch on infinitely, each work a piece cut from an infinite universal cloth eventually spreading onto everything like some hellish pox. Toroni's pox will die with him, which is more than can be said for many. The signatory brushstroke, labeling meaning and value. Like so much art it achieved credibility by being just so maniacally stupid, undeniable. It's hard to refute such stubborn insistence.

Kara Walker at Sikkema Jenkins


[A press release to melt steel girds.]

The silhouettes lacking color were assigned it through expectations of their inhabited shape: Colorless and projected with a hue-as-designation through our own cultural assumptions, achromic yet colored, the metaphors manifold and rife. Now Walker paints in the colors like an assignation, assigning of her own hand what had been ours to.  What is noticeable is the umber never touches its outline, it's held within or smeared on top. The pale fleshes melt, meld with their surroundings, perhaps simply because paleness is considered to be standard, the backdrop, blend into it.


Thursday, October 12, 2017

Past: Thomas Eggerer

"The painting’s tension exists in whether or not Eggerer cares about his subject matter. Richter may have shown care for his but then masochistically bled it, and as this cold blood trickled down, through Tuymans and Sasnal, it finally reaches the ambivalence of Eggerer’s young men as vessels."

Thomas Eggerer at Friedrich Petzel
Thomas Eggerer at Richard Telles

Wednesday, October 11, 2017

Ari Marcopoulos at Frank Elbaz


We started appending porn as a suffix to images that though chaste employed its visceral surface, white crystal light, even the more vile forms of pornography still bathe their slews in clean shadowless light. As style to its subject, “-porn” was to the candification of an thing, slathered in photographic glaze, like a plastic wrap protecting it from bleeding, the packaging of the product-subject, contained, a photograph for exchangeability. It was an advertorial strategy placed onto subjects that needed it not - food, ruins, “others” - allowing them the transactional ability of commodities, the advertorial token trading. “Ruinporn” was attacked when the spreading economic recession the photographs were then currently objectifying reached people who mattered enough to care as commodifying pain - like anyone had ever heard of Sontag - ruins been photographed for centuries labelled as sensationalist and “foodporn” as some part of FOMO commodification of our human experience, everyone doing it, increasingly in every aspect, as even the artworld relinquished to its ability for social advertising, “-porn” was the commodification of any such affective object in a way that amputated the subject from any means of communication beside genre as an offering. Of course all advertising had been “-porn” for decades, extracting youth, beauty, whatever loveliness it could get to give desire to its object, the difference was now people rather than ad agencies were seeking out its affective rush, the human experience encapsualted as drug, as deliverable pleasure.

Monday, October 9, 2017

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Katharina Fritsch at Walker Art Center


The exhibition views show everything inside acrylic cubes like diamond ring displays for the you-can-not-touch sort, a barrier reflecting your meaty visage obscuring the objects. The documentation of the object themselves made in a photo studio sweep under day-glo lighting of product photography - they look like advertisements, a virtual form that doesn't exist, even for Fritsch, anywhere but the virtual image, like the perfect commodity you can't buy, the digitally reconstructed hamburger that looks nothing like our besogged meat IRL, its just an ideal, one that marionetting desire long enough to get you purchase the idea. Look at the the grey of the exhibition views, and the white crystalline radiance of the product photography. Are these not diamond adverts? The point of it surely.

Sunday, October 8, 2017

Trevor Shimizu at 47 Canal


The frame had once aggrandized its painting haloed, a gilded crown of thorns, calcifying its divine radiance. Here a painting frames to single out, brushwork to excise from the multitudes, make singular, uniquification, a continually more common process of art for objects that too easily reproduce unchecked; the frame becomes the mechanism to restrain an object from free agency, shackling it to an owner, a place, a home, no digital viewing offered. That the effort enacting such scarcity is dumb matters none, it might as well be.

See too: Brian Calvin at Le Consortium, Trevor Shimizu at 47 Canal, Trevor Shimizu at Rowhouse Project

Friday, October 6, 2017

Pentti Monkkonen at High Art


The package as product, medium masseuse, the vessel which projects its internal object, which here isn't anything, instead the subject of art, the artist.

There's been a lot of liquor art of recent. Box and buildings too. and of course the eternal art and smoking.

Gina Folly at Ermes-Ermes
Pentti Monkkonen at Truth and Consequences
Pentti Monkkonen at High Art
"Paris De Noche” at Night Gallery
Pentti Monkkonen at Jonathan Viner

Wednesday, October 4, 2017

Past: David Douard at Johan Berggren

"Duoards asserts the bodily in the trash accumulated, acknowledging the filth of things ready made, the body in the product, in the package, in the excrement of practice..."

Click here: David Douard at Johan Berggren

Ida Ekblad at Max Hetzler


Ekbladian horror, the confidence of antagonist, of clowning amok, berating sense with maniacism. Composition used to have a sense, a logic, it genteel and formed, now the kids these days they spray kat litter, kick at walls, crust manga felines. The fun of this willful negligence, that, if those in power can be exonerated for gross incompetence, rise to the highest upon guilt free souls, it feels good to be an artist an able to do the same, love them for it.

See too: Ida Ekblad at Herald St. Joanne Greenbaum at CroneMichaela Eichwald at Silberkuppe

Monday, October 2, 2017

Luiz Roque at Mendes Wood DM


Music videos were commercials you wanted to watch, in darkened rooms a flickering sales the subject/object created by the stream of images that swaddled it: the musician car object, attaching you in emotional and affective hooks humming strumming. When removed the sales-object removed
instead just silver celluloid, sexy form, of shiny surfaces rotating.

See too: Mark Leckey at Haus Der Kunst + Kunsthalle Basel

Sunday, October 1, 2017

Josh Mannis at Eric Hussenot


Style, the overlay to depiction, seeing through the warbled glass of another's eyes, allows the artist to appear in his subjects, artist's view of the world, how they see or desire it: people appearing scalded to the magentas reflecting in their raw nubility, fontanelle soft heads, pink eraser people, hair burnt. Soft buds holding stress positions against the cold metal tech surrounding. The painting's boiling light becomes the drawings pervasive texture like sandpaper, style appears as a pain, an uncomfort for those subjects in the glass you see as Mannis.

A lot of painters are cruel: Josh Mannis at M+BMiriam Cahn at Meyer RieggerTomoo Gokita at Taka IshiiNicola Tyson at Friedrich PetzelMichaël Borremans at Dallas Museum of Art

Thursday, September 28, 2017

CAD 2008-2017

Remember Flash? Remember splash pages? For a brief moment the internet had rid ourselves of the clogged glitz of pageantry, webpages moved to chaste legibility, a now eclipsing era when pretty much every gallery - blue chip to apartment - resembled each other democratically: washed of blitzing design, 2008: Facebook's rising militant pages nailing the coffin on the lurid heap of Myspace, the iPhone exiling Flash, and the year CAD launched its own suprematist site. Difficult to discern whether CAD started the trend for desaturated austerity or simply sensed what was in the air with Wade Guyton and subjectivityless painters, stripping the individuated gallery hands for a digital white cube. Hard to remember how difficult finding documentation had been, how gallery's websites were a diaspora of middling horror, how the feed hadn't yet become the dominant digital intake, before Instagram and Facebook ascended as the apex of artistic social convivialty, before all content had designed bingeablilty, in iPhone bereft darkness, the digital campfire of Contemporary Art Daily. Galleries took note, it seemed every gallery adpoted the basic black and white that any html lackey could emulate. Cleanliness, order. Now, today, Splash Pages return (they never really went away for LA for whatever reason) and HTML 5 replaces flash, iPhone compatibile. In 2008 it was a point of pride that anyone could make the paintings you were making and the websites showcasing them along with it, in 2017 paintings are colorful expressionistic, technical; paintings today look like the Myspace pages we had entombed, and our websites bloat along with them to prove they can. Top separate themselves from the imitations. It is not enough that the 10mb images load, we place an icon, a gesture to show we know they are loading, an ornament.

See too: Sophie Nys at Crac AlsaceBrian Calvin at Le Consortium, CAD

Wednesday, September 27, 2017

Past: Lili Reynaud-Dewar

"Tom Cruise dancing in underwear and socks in parents' vacated living room performed a magnificent version of freedom despite imprisonment by the script contractually obligating his "freedom" dancing "unwatched" in stark white briefs before an audience of - who really could have predicted then - hundreds of millions. This tension of contractually obligated freedom...."

Click here to read Lili Reynaud-Dewar at Clearing

“Pharmacy for Idiots” at Rob Tufnell


This fall color is in. Schmutz is hot, and the figurative no longer the province of the cerberally impoverished. Just a number of seasons ago this would have been unheard of. People wanted their painting printed, indexed, sprayed from fire extinguishers, run through a series of conceptual parameters that stood in for ideas. People wanted ice cold abstraction. Wanted painter's hands replaced with scissors and aerosols, desiring our painters as machines for production. Now they want comedy, hard edged illustrative, want brush work, florals, subjects, subjectivity. "Art is a pharmaceutical product for idiots." - DADA manifesto 1920, quoted at full in the PR. History repeats.

See too: Joanne Greenbaum at CroneWade Guyton at Academie Conti & Le ConsortiumZak Prekop at Shane Campbell, Nathan Hylden at Misako & Rosen,

Monday, September 25, 2017

Andreas Schulze at Team Gallery, Inc


Ah to spew smoke, to spit smog. Our off-gassing, our hot-air. Your body's continuous pollution, waste, a machine for expenditure. You are net negative on the biosphere.  Like hanging "Everyone Poops" on your wall, things no one wants to be reminded of, Schulze's painting are generally cruel things, stuffed with aggressive lashing. Paintings not really for seating polite company. A lot of art today with its biomorphic and anthropoid rotundity desperate to remind viewers of their bodies but Schulze seems willing to make it painful, reminds us what happens in our more porcelain moments, your exhaust pipe. This is the new moral nature of painting, look at the painter's, the writer's exhuast, self to the wind.

See too: “Ungestalt” at Kunsthalle BaselAndreas Schulze at Sprüth Magers
Past: Andreas Schulze

"against the distress of the constipation of painting today, jammed traffic"

Past: Andreas Schulze at Sprüth Magers

Sunday, September 24, 2017

Francesco Vezzoli at Fondazione Prada


Make it big, sprawling. Polish the room. Carpet, lighting, stages, print banal things huge, patterns everywhere. Funhouse. "Historical" references like put through a paper shredder. Place other's art on the walls to gird your own. So there's something to look at. Like history in a disco ball. Have fun with it, the carnival. More, more, more, how do you like it, how do you like it?

Friday, September 22, 2017

Abbas Akhavan at Museum Villa Stuck


"...the exhibition, [..] incorporates all the imperfections and drill holes from the previous show. The museum’s temperature control system has been turned off. Previously walled-up doors have been cut open, and windows are left ajar, allowing light and fresh air to permeate into the space, thereby raising questions about established boundaries of the museum..."

"The museum" comes to mean the learned subjective posture adopted in assessing the objects of art. "the museum" is the headspace selected in "considering" the object. "the museum" is the trope of New Yorker cartoons: aesthetes before artworks making proclamations, philosophic noodling. "the museum" is a virtual reality headset for the judgement of objects, the invisible HUD of pedagogical memes, historical influenza, and symbolic judgement. "the museum" is a learned set of social conditionings. Akhavan, by dispersing the object instead into a room full of gestures, turns the display to the theater itself, the museum as headspace, the fourth wall everywhere, plays itself, etc.