Saturday, December 16, 2017

Richard Aldrich at Adrian Rosenfeld


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"his ever-accumulating practice."  

Anyone spending any significant time in struggling art students' studios would recognizes these experimental searching, objects-as-attempts considered less for what they are than the potential in an artistic career, i.e. it's not contemporarily gleaming right now but it could be polished later if I chose this object-as-trajectory as my career, the object as long term possibility. It was Aldrich's decision to accumulate rather than throw the fits, recognizing their stupid interest as potentials, each a tangential to the great whale of capital P Painting. Because there's an artist somewhere that does this full-time, which we were all trying to avoid such jobs.  Alrdich's attempts at personally expanding the field of painting attend their comedy-almost by feeling so part-time.



See too: Richard Aldrich at Gladstone Gallery

Friday, December 15, 2017

Past: Karla Black

"Despite the inanity of the moniker, soft sculpture probably matters in its expression of a development in how we best see ourselves represented, and the materiality ever since still of course representative of us, of our our world as we see it, the softest garbage in the wind."

link: Karla Black at Museum Dhondt-Dhaenens
link: Karla Black at Raffaella Cortese
link: Karla Black at Raffaella Cortese

Alexandra Bircken at Le Crédac & BQ


(Le CrédacBQ)

"Double entendre of object like innuendo complicating the minimalist mantra of what you see is what you see, because what you see is sometimes sexually confusing, leather seats in car beginning to look like the lap of a tanned, taught, naked man."

And like many today Bircken finds ways to make the body appear through its latent expressions in commodic forms that conform in packages for it, the body. The majority of the objects we interact with are deformed to our bodies, are created in our image, wraps for us, and our absence makes them appear as ghosts, apparition in objects, which float like innuendos among polite society, tenuous, unmentionable which Bircken's digging at finding ways to all but place the words on our tongue: the body, the butthole, the flesh, the donger like thing you handle every day.



The body too:Erwin Wurm at Kunstmuseum WolfsburgOlga Balema at High ArtOlga Balema at High Art (2), Nairy Baghramian at Museo TamayoRon Nagle at Modern Art"Being Thing” at Centre International d’Arte et du Paysage & Treignac ProjetKatja Novitskova at Kunsthalle LissabonNancy Lupo at 1857,  Torbjørn Rødland at Kunsthall StavangerMartín Soto Climent at Proyectos MonclovaRoger Hiorns at Annet Gelink
Past: Richard Aldrich at Gladstone Gallery

"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..."

Wednesday, December 13, 2017

“Hecate” at Various Small Fires


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Of course art's a witchcraft, disproved by the sciences, elucidated by sociology and psychology, in which a practice's material insistence affects a viewer magically: think tarot, images drawn and illuminated shine to bounce around in your head to alight some new substance inside, like any painting. The further you believe in the drawing the more deeply it affects. A potion for wealth eventually brings it through stubborn physical existence on your kitchen counter to remind you that's what you value, seek. Any object's aboutness, its meaning, it tautologically enacts like a string tied around your finger: the string doesn't necessarily intrinsically symbolize "pick up eggs;" its meaning is conjured by the reminded who tied it. Objects are imbued with meaning, even snakes humans are not primed to fear but seemingly primed to develop some emotional response to, blank slates all. Like art the trick is getting anyone to believe it enough to keep it in their home, tie it to their being.

Monday, December 11, 2017

Martin Soto Climent at Atlantis


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The gesture given frame, cradle for its image, able to be sent, transacted. The clear delineation of artistic parameters allow fungibility. Soto Climent's sensitives haven't always been so packaged. The packaging lends a sentimentality, a hope for stasis, permanence, removed from the chaotic world into an order, like butterflies pinned to boards, like a new gallery seemingly without website finding itself well represented on white backdrops.


See too: Martín Soto Climent at Proyectos Monclova

Sunday, December 10, 2017

Gilbert “Magu” Luján at University Art Galleries, UC Irvine


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The prototype produces a form to be extrapolated into a production, an object purchased and used, the sediment of which accretes a reality, our reality, the ubiquity of objects that littering our day and the world; the art object prototypes something similar but different. The mass produced car must appeal to millions, but as the product moves further into niche recesses of impossibly improbably decisions and the audience approaches one we begin to see less a car and more an accumulation of decisions which fracture common sense, the subject of what created it, the artist.

See too: Robert Grosvenor at KarmaJonas Wood at David Kordansky

Friday, December 8, 2017

Caroline Mesquita at T293

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The PR mentions Giger for whom the mechanistic and biomorphic found waypoint in the skeleton, the complex curvature of the arthropod's organic exo-shell, the crabs and muscle cars who share the PVC fetishist's interest in shiny bulges; it wasn't hard a move to the erotic. And like the Iron Giant for beyond parental guidance suggested, we can anthropomorphize steel so long as it reflects our own curvature: what looks like a wormy finger in one starts to look in another like a butthole. Metal is as malleable as you want it to be, can conform your desire, and thus have no issue identifying our own corporeality with metal. It's when we go on T293's website and look at the additional photos there and realize the butt's hole contains a jagged and unformed hangnail like a fishhook that we reject its allure.


See too: Roger Hiorns at Annet GelinkRoger Hiorns at ELI Beamlines Center,

Wednesday, December 6, 2017

John Baldessari at Sprüth Magers


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The text's irrelation performs the poetic fissure lamely, mechanically, i.e. Baldessari's engineered breakage of logical closure, conclusion. The space we rush to fill with guesses, the INTERPRETATION of art, that interminable precursor to MEANING. The poetic is the process for staging these interpretive fissures, founts for guessing, which Baldessari's plain creation of feels like a corpse made to dance. That dullness feels a point.


Also these look a lot like Vern Blosum at Kunsthalle Bern and see too: John Baldessari at Marian Goodman
Past: John Baldessari at Marian Goodman

"Baldessari's career spent on a mockery of art's formal givens, puppeteering its dumbified literal versions and removing the protective aura of seriousness so a skepticism could seep into it cracks, paving the way for today's boorish Pop conceptualism.""Here focused on dissonant image/text relations leaves a viewer floundering to connect the basic formality of art: that the text relate. That we still find this Baldessarian gimmick relevant 800 exhibitions later, sometimes even comically worth it shows how strong this base impulse is ingrained."


Click here for full John Baldessari at Marian Goodman

Tuesday, December 5, 2017

Mathew Cerletty, Julia Rommel at STANDARD (OSLO)


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Boring at two ends of the value spectrum for painting today, meaning and object. At one end the object is valuable as a cultural emblem, painting, of historical accreditation, of a history of painting, and so Rommel makes the object structurally flaunt itself, give paint a stage upon which to display itself, paint, stripped and naked before us, and at the other end Cerletty's use of painting's cultural valuation for meaning turned into a puzzle game of clue boards of symbolist rubik's-cubeification, bright figures twisted and turned for you to puzzle over, man's search for meaning gamified on the board of painting.


See too: Mathew Cerletty at Office BaroqueJulia Rommel at Overduin & Co.


The plane shifts once again, the painting inhabits two views, the window and god's eye, painting looks down upon its subject rendered as it wants.

Monday, December 4, 2017

Jessica Vaughn at Martos


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It is a, perhaps acknowledged, strange way to document the object in such a way as no one will ever view it. These lay flat on the floor, mutating into parallelograms in perspective from your walk around them, yet the camera adopts god's eye view.  Exchanging full information to replace the object's actual experience. This is what you put out into the world to describe the object, not documenting the experience but a diagram for the object. As though with enough information we can we can reassemble the experience at home. This is a trend in art documentation, for brighter shadowless lighting, for total documentation, which like the pornographic adopts total visibility to replace the experience of flesh. Cannot be overstated enough as it is analogous to a shift in our culture itself: abstractions can be used to stand in for experience, decisions made entirely on abstractions, on data. We talk of enumerations of populations with statistical variances, we talk of clouds of points that cannot be individuate but inferred. Like your phone predicting your location, with enough information we can reconstitute experience. So when documentation makes a choice to present images which choose maximum-information (gods eye, not yours) over the camera as stand in for your head, it’s a choice that seems the sediment culture's thirst for raw information.

But then they also speak of our growing preponderance for trash: Chadwick Rantanen at SecessionKahlil Robert Irving at Callicoon Fine ArtsMelvin 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 Benevento,

Sunday, December 3, 2017

“In Vitro” at Bodega


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This is an interesting exhibition documentation choice: the light from the street overpowers the gallery's, which, generally, we avoid. The gallery's lighting should be all encompasing, powerful, a scour to impurities. That this exhibition takes as its theme the shop window makes the reversal make sense, the gallery becomes a sort of inverse shop window itself. Which it always was. The fishtank of the street. But it's an interesting way of framing object which take the commodic display as their penchant. The Musee d'Orsay lights paintings with square spots fit to the paintings to make them appear as if the paintings themselves emit the light. It's important to know from where your light come.

Saturday, December 2, 2017

Josephine Halvorson at Sikkema Jenkins


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The fourth wall's plane, the painting, that's always foreboding in Halvorsen's is literalized here in the NO TRESPASSING sign which, as the PR mentions, "the painting metaphorically extends the boundary line" i.e for all representational painting's ostensible window-into-ness it's still a wall we're racking our brains bashing our heads against. Mark Tansey's "A Short History of Modernist painting" comes to mind, or taking the measure of Plimack Mangold, the point being this will never not be fun, placing the sticker on the glass to make the window itself visible. It's difficult to see the painting for its frame, the image as its pixels, the words as its collection of letterforms, the painting is the barrier, making a better door than a window as it were, check out my paint.  Paintings aren't culturally valued for their ability to represent, we have images to do that for us, but a signifiers of "painting" - that most symbolically loaded cultural form - and so its important to highlight your brushstrokes, your smears, the act of making it. Gerhard Richter's dragged abstractions sell for way more than the illusions.