Monday, September 4, 2017

Lutz Bacher at 3320 18th St


As a coping mechanism for liberal anguish this makes sense, a shelter to lick wounds and reassert our values printed in critic's picks and press stated it a "Superb San Fransisco Show"; resistance through opening magazine space for such critics to state their picks, which are not Trump. A conservative artist emphasizing autographs, say Obama's floral own, would be about equally meaningful, the floral signaling weakness, whereas Trump's palsy divines the polygraph critics wish. But graphology has long been decried as pseudoscience - as well as lie-detectors - mattering little here: the Trump signature been given the Bacher buzz, mimeographed to noise, and whereas the less culturally adept would have put the scrawl on melting icecaps, on the corpses of refugees, redundantly, theatrically, Bacher's noise, hung in the hallowed halls of art, echo what was already been ringing in its chambers, our skulls. Both graphology and polygraphs used for decades by those in authority to assert objectivity in their generally pretty awful biases, see what they want to see, like art, its critics.

See too: Robert Longo at Metro PicturesRachel Harrison at Greene Naftali