Monday, February 6, 2017

Mickalene Thomas at MOCA Los Angeles


God bless CAD for hosting these walls, may they be forever archived. For all the artworld's (investigation/mining/appropriation) of (cultural/power/identity) (structures/preconceptions/notions) it sure loves a good authoritatively blank wall text filled with the hammering jargon of publicitized madlibs. Not so much to speak, but to have spoken. A form so omnipresent and invasive finding themselves returning as so many "reviews" and critic's picks padding the glossed backs of magazine pages. Description itself is political and yet nothing is claimed in the ostensibly neuter language of institutional rhetoric, a handwave to its caricaturesqueing and compartmentalization. No word why artists, good ones, put up with this. "But its target audience is for a possibly under-informed public!" claim those who have little respect for the average viewer's intelligence, as if onslaughts of words could stand for a statement. And you see its reactionary verse in PR from Berlin the world over, concrete poetry and watery-Whitman releases of their press concretizing the institutional voice prizing words accumulated, like nonsense is the only form we have.

Artists too: Peter Wächtler, Sam Pulitzer at House of Gaga and Reena Spaulings Fine Art