Sunday, July 15, 2018

“Tour of the Artist’s House” at Reserve Ames


The documentation becomes its own photographic art. On Reserve Ames own website the documentation is gray, but sent through other waters - CAD or Artforum say - they usually turn colors. A strategy preserving exclusivity. Now not even the pipes stain them. Ostensibly an exhibition as tour of the artists' home, the important part of the new documentation is that it is actually an announcement card.

Friday, July 13, 2018

Allison Katz at MIT List Visual Arts Center


the two subjects to painting, the thing represented in paint and the artist-as-subject rendering both. Painterly "style" is the sediment of an individual's subjectivity accumulating in the granules of their decisions eventually garnering a pile: identity. Look through the glass of another's eyes to see their world through them. We - despite all - trust art to tell us something about subject, and Katz's "self-portraits" make this mirror between painter and self-subject anxious by threatening this trust: painting that feel like fibs, competing styles that delay any coherence in its subject, the painter, our trust for the text to tell us something about the author. Others have called them palindromic or Janus-like, expressing this anxiety over the mirror. An irritant in our lenses, the paintings.

Leidy Churchman at Koelnischer Kunstverein,
Past: Lucie Stahl at Halle Für Kunst LüneburgCabinet

"Which whose then, despite their slight derivatives, in the specificity of their slick digi-crust-materialism and resolution-as-sex, we loved, the scanner trash prints: what everyone else was at such pains to display with existential and overwrought, like, expression, Stahl had turned into cheap easy and fast slacker products that got closer to the existential dread of that material-reproduction by embodying all its cheap easy fast sexy disposability."

Lucie Stahl at Cabinet, Lucie Stahl at Halle Für Kunst Lüneburg

Thursday, July 12, 2018

Past: Anne Neukamp at Greta Meert

"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. These paintings delay the force of recognition as a palliative, lessening the slap of apprehension.."

Anne Neukamp at Greta Meert

Elliott Jamal Robbins at Kai Matsumiya


discombobulating the characters, Snow White and the black protagonist cultural antipodes, forced atop each other, its Disney surely dissonant with black male experience: a snippet plays stating that a lot of women were roused to voting early which would have felt reassuring then had we not later learned white women voted Trump. Sadness feeling most intense when there is nothing to be done with it, can't be channeled, and the depression of your body on the mattress becomes sinister cave, stuck to National Public Radio's days before the US election, an anachronism replayed in your head, is made worse in actually having the recording. Enough emotional dissonance eventually causing psychologic desensitization, feeling a lot like living slumber.

Monday, July 9, 2018

Ei Arakawa at Kunstverein Dusseldorf


artwork's origin dates as astrologic charts, your level of trust in the celestially telling matters less than the overall strategy: turning an artwork to an interpretable state and blinking, tea leaf divination in sporty Vegas-odds inkblots. We're primed to see meaning in information, in art, particularly when so bright and shiny, and thus here's lots to be said about these works, interpretation to be done, they'll pour forth all you are willing to extract from them. Perfect analysands. Like the wacky inflatable arm man drawing eyes to dealerships, Arakawa understands the qualifiers for "art," performing them with wacky panache, theatricalizing the artwork as a caricature of attention, art played to show its now quite standardized set of rules.

See too: Ei Arakawa at Taka Ishii & Peter Halley at Modern ArtIan Rosen at The FinleyAnd so Quarterly has finally come to pass.

Sunday, July 8, 2018

“Water & Power” at The Underground Museum


by which then us feeling art's critical function better at surviving commercial shipment while the spiritual arrives less intact. Like preachers made richer than the Gods they represent through the thankless loaning their congregation's credence, the Eliasson's "worth" for reinventing the funhouse as some sort of ecological imperative could beget an equal crisis of faith. Particularly when the package is the world outside set in a different box. A critique of any art surely. Maybe the wealthy preacher is just really good at what he does, attracting congregations. But somehow the spiritual should survive in commodification, everything else must. Seemingly why we gave up on it.

Saturday, July 7, 2018

Manuel Gnam at Noah Klink


or the couple of Gnam's press releases invoking generational clashing and the cultural culling of those without political use make one wonder if these aren't, comedically enough, Gnam's attempts at proving himself a viable artistic candidate for cultural preservation. Which would make them funny. To think of these as attempts at cultural relevance. At some point we did adopt demands for art to prove its usefulness, possibly through the seepage of cultural theory into it, art was suddenly be extracted for some sort of insight we had, tautologically, proven was there. We believe in art's ability for insight into, well, something, that when the above is delivered to us, we choke on our inability to read it, we choke.
Past: Nina Beier at David Roberts Art FoundationKunstverein HamburgCroy Nielsen

"20th century Surrealism couldn’t have predicted how surreal the 21st would actually become. Like the floor on view here, the new virtuality of surface makes Magritte’s paintings a reality, a drag and drop images into the real..."

Click here for Nina Beier at David Roberts Art Foundation
Click here for Nina Beier at Kunstverein Hamburg
Click here for Nina Beier at Croy Nielsen

Friday, July 6, 2018

Ramaya Tegegne at VIS


or that history is a process of consolidation, the enclosure of rectangles around its boxes, the eras vogues histories artists etc. the little territories as blanket of wares meaning Artistic turf that Tegegne attempts to keep frayed with discombobulated exhibitions of historical process's detritus, found appropriated and reproduced, as palliative against, or occasionally with, art's boxification - forcing what would be left behind in the move back into the box as her career.

Thursday, July 5, 2018

Glenn Ligon at Thomas Dane


or that painting something white would restore it, return its virginal character, but talking of blackness as an accumulatory inescapable, occluding, the eclipse on legibility and meaning, but then in there, on it, the occlusion itself, blackness. I guess you could make the arguement that Ligon isn't once again destroying' the legibility of Baldwin's text but restoring it, bringing it back to its blank pure slate.

See too: Glenn Ligon at Regen Projects

Wednesday, July 4, 2018

Art Record

We all believe in arts' ability to supersede the market, to transubstantiate its commodity into a spirit, but realists too. You need to keep your objects separate from the order of the ordinary, of the things yours could suddenly disappear into, the earth, you need tracking, spreadsheets, the markers of provenance that govern the validity of art. So we've developed a product for those without a gallery to aid such immanent concerns extracted from theirs' celestial. Eventually a gallery will do this for you, but for now, adopt the future, dress for the job you want, tracking product, rep, failure, success with this handy - and award winning designed - tracker for what you value as your life, us too. 

Torbjørn Rødland at David Kordansky


or meaning innuendo can only circle its prey for so long before we can infer its total, it is no longer suggestion but fully encircled into the arena of practice for a well thought circle or rut.

see too: Torbjørn Rødland at Air de Paris
Torbjørn Rødland at Henie-Onstad KunstsenterTorbjørn Rødland at Kunsthall Stavanger

Tuesday, July 3, 2018

Past: Torbjørn Rødland

"The PR’s refusal to acknowledge the sexual themes leaves the perverts guessing. Erotic coupling, miscegenation of binary masculine/feminine, phallic/soft. Everything touching, lightly.""...posing problems for categorical restrictors like the MPAA for which Rødland presents a real European nightmare, Most of the photos are G or PG but feel PG-13, and while the penis is R it’s the sneakers on the otherwise nude man that really require Parental Guidance."

Torbjørn Rødland at Air de Paris
Torbjørn Rødland at Henie-Onstad Kunstsenter
Torbjørn Rødland at Kunsthall Stavanger

Saturday, June 30, 2018

Past: Jutta Koether at Bortolami

"Representation was always sort of beside itself, at least pointing elsewhere, but whereas for today’s puzzle painting exists as a kind of confounding delay of symbol's comprehension, Koether's over-saturation never a maze but a hyperlink version..."

Jutta Koether at Museum Brandhorst


because what you're looking at isn't what you're looking at: what you're looking at is cultural baggage, garbage piling your sentience, floating to the surface like diapers, clots, the noise of signal and symbols. You can't see purely, you are clogged with reference. "Koether’s own “battle” with art history."

see too: Jutta Koether at Bortolami

Friday, June 29, 2018

Justine Kurland at Mitchell-Innes & Nash


or personal opinion that the youth should be left alone. Photography's inherent embalm and morbidity. Youth should be wasted, sloughed into bogs of our own autumns. Instead adolescence's  preservation, feeling always like photography flexing its own ability to do so, holding its pearl while we are like strapped to dying animals, timers and all. Like Imhof's Faust, subjects are forced into becoming advertisements for themselves, for the thing they cannot hold onto but Imhof, advertising and Kurland get to reap; Kurland's light merely warmer.

See too: Venice: Anne Imhof at German PavilionWolfgang Tillmans at Galerie Buchholz

Thursday, June 28, 2018

Zak Kitnick at Ribordy Contemporary


in line of Sears' full history and its intersection with Kitnick's own, for the then pouring into the Jello molds here which will contain it like good art objects as retainers for stories, no longer looking at the art but the little vacuous middle distance of. Objects don't exist anymore is the point, we have post-Marxed them to oblivion with fetishization into names as placeholders: at the end "Craftsmen" was merely an object containing all the distant echoes of its storied history of quality to coast on as its final form as junk wringing out this nostalgia as cash pyres (the story of many brands narrative arch from triumph to trash, Schwinn, Smith & Hawken, et al.) - which seems, Kitnick ever the melancholic, the point, "the highest score for both 'Brand Expectations' and 'Trust'" is more capitalistically leverageable than any use-value or beauty that these artworks portray themselves not as having but ostensibly able for you to take home and create yourself, again trading the ghosts - here the history as press release - we survive on, to do it yourself pal. Defeatist or just powerfully unhappy is what is at stake.

see too: Kyle Thurman and Zak Kitnick at Parapet Real HumansZak Kitnick at Clearing

Tuesday, June 26, 2018

Past: Sarah Ortmeyer at BodegaSarah Ortmeyer at Potts

"...a more mythologic subject, a cultural signifier to whom our attraction is unbounded, orbiting a celestial beauty, a man of so much public weight it begins to accrete its own egg-like shell, his image..." An egg.

Click: Sarah Ortmeyer at Bodega, Sarah Ortmeyer at Potts

Anne Libby at Night Gallery


over the course of a career Frank Gehry made some fish and they are pretty much horrible. Kitschy blundgeoned ham handeries of what would be the shimmering skins of architectural circusry. They are completely obvious in a way that is painful, reducing nature to a mimickry of its lithe body for future extraction.  Libby's shimmering scales seem to gravitate towards this middle state of architectural decorum, a scales that could be placed over the whole, a fragment waiting to be multiplied, capitalized on.

Monday, June 25, 2018

Pippa Garner at Redling Fine Art


creating fake products revealing the ostensible absurdity of capitalistic variation?  If we hadn't invented the lithium ion battery a gas powered vibrator an acceptable concession for many. We're already burning it and worse elsewhere to energize your battery there and with a lot of loss between so environmental concerns aren't as much at issue as the desire to keep exhaust out of our intimate moments. Parody is funny, but a form masking the pain of the content, often. But Pippa was invited on Merv Griffith's and Carson's - did you know? - and so its an ostensibly popular form, our self-mockery.

Sunday, June 24, 2018

Julie Curtiss at Various Small Fires


Domenico Gnoli in Christina Ramberg styles, we see the banal given a character and edge, a rippling read like tea leaves.

Saturday, June 23, 2018

Lyle Ashton Harris at Participant Inc.


The D that spreads across as both the Daddy of letter's address but also as a variable, D, placeholder, name, the thing we desire and the container to hold all we can pour into it spreading across us our histories tainting thoughts desires action dreams like a contagion or a fear.

Thursday, June 21, 2018

Nathan Hylden at Misako & Rosen


paintings were always trying to point elsewhere, reference their previous selves, point at the other, steal brushstrokes from each other, leave sprayed paint ghosts as traces of the other, overlapped and reinserted to another, silkscreened, printed, cut, traced, photoed and industrially processed, continually turning the heads every elsewhere until finally we are looking at the floor - that apparently gave rise to at least some of the paintings - looking for the original that Hylden tries to defeat, burying it under it reference until there maybe isn't, it is dead and in the pile that hides it, a mirrored floor showing something new?
Past: Raimer Jochims at Jacky StrenzRaimer Jochims at Jacky Strenz

" indifference to fitting explicably well within contemporary grey flesh, like glass shard splinters or loose teeth's minor annoyance become ugly..."

Click: Raimer Jochims at Jacky Strenz 1, Raimer Jochims at Jacky Strenz 2

Wednesday, June 20, 2018

“Tiger-Poems & Songs for Hurricanes” at Travesía Cuatro


"If this so called pre-primitivism allows us to shake the foundations of our epistemological pride, then this “perspective” is a valuable one, that should be re-activated constantly in times of visual overconfidence."

visual overconfidence. The argument for painting "primitively" as a reaction against our new techno razzle dazzle's authority, presenting a frailer subject requiring a viewer's empathy and understanding rather than administering a visual flexing to stand in for validity. Like breaking your dog's leg before the dog show, you won't win the prize, but you might get a people's choice award.
Past: Gijs Milius at Gaudel de Stampa

"We try to make the body reappear and it appears as a cartoon, which we're mad about. Our cartoon bodies extrapolated from the growing prevalence of data and numbers domineering discussions of humans. The "broad picture" we use for governance. People as populations. Everything feels like a cartoon in this virtuality because you can do great violence to it. A million jobs lost, a million jobs gained. Tom whacks at Jerry with a mallet like an axe. Jerry distends."

Click: Gijs Milius at Gaudel de Stampa

Tuesday, June 19, 2018

Abraham Cruzvillegas at Kurimanzutto


the excellent sculptures that particular regions of urbanites create to reserve parking places? Wikipedia's article calls them Parking Chairs, Chicago calls them "dibs" but you see many versions across the world less furniture orientated. Mexico City's particularly robust parking-object scene. The sculptural emergence from, seemingly, several requirements, first that they be of no particular value (negating theft), constructed of what's available, and, lending their aesthetic quality, must designate their intentionality and refute themselves as refuse or castoffs, detritus, but instead purposed, creating a particular design problem of how to use trash to denote property, the construction as symbol for intent, and all the incredible vernacular and jury-rigged beauty with it that Cruzvillegas pilfers.

see too: Mark Grotjhan at Karma
Past : Lena Henke at Kunstverein Braunschweig & Louise Bourgeois at Cheim and ReadLena Henke at Kunsthalle Zürich

"...apparent in those like Henke for whom physical things act as moments of duplicity, locus for multiple apparencies, big black table eyes. There is too many things to say about these things, looking like too much, their genericsm becomes strength. A low poly mesh provides metaphorical possibility in its low resolution. The harder it is to define things the larger their aqueous potential..."

Click: Lena Henke at Kunstverein Braunschweig & Louise Bourgeois at Cheim and ReadLena Henke at Kunsthalle Zürich

Monday, June 18, 2018

Orion Martin at Bodega


the roughly two inches of depth that Martin allows as pans for the sifting of images, cultural gold, and perhaps owing to Beckman's claustro-orgies, updating that era's expressionism is for this one's iPhone sheen, both's cultural unconscious brought up and pressed against the glass for our peering zoological efforts. The "shreds of childhood half-memories made manifest, and fleshed out with so much lurid detail that it feels confrontational" with the images we have internally seared into us, cultural echoes rattling around inside your head's quiet moments occasionally materializing from the noise of your brain a jingle from 30 years ago. What we are forced to carry and not sure exactly what the surrealists were planning as the point of irrupting the subconscious onto the page when it seems to be a lot like dredging some kind of horrible cultural sewer pipe and we cramming snakes into it.

See too: Emily Mae Smith at Rodolphe JanssenQuintessa Matranga at Freddy

Saturday, June 16, 2018

Paul P., B. Wurtz at Cooper Cole


or that the details aren't trivial. They are the attachments of care, sewing buttons to close coats around a warmth when a guardian can't. Paul. P's sensitivity in the liquid touch, its a bit easier to explain, caressing faces in fluids, the pigments absorb into paper like blood into cheeks blushing, paper becomes skin to engorge. Wurtz's more homely space is all about knots tied, and buttons threaded, plastic bags hung to dry. They're dumb objects rescued by so much simple care like responsibility shown for them.

See too: B. Wurtz at Lulu“The Crack-Up” at Room East (B. Wurtz)
Past: B. Wurtz at Lulu

"The American Gym Sock. Tied to teenage boys, normally repositories of filth, seed, and feet, normally locker room attire, a pubescent attire, pimples and athletics, is here given an absurdly fastidious clean, highlighting its cotton and comfort, restoring purity, virginal phallus and receiver of course."

B. Wurtz at Lulu“The Crack-Up” at Room East (B. Wurtz)

Friday, June 15, 2018

Kate Newby at Kunsthalle Wien


"deploys her fragmented gestures in the service of a greater alchemy," chipping away at the artistic monument, further granularized to finer and finer pocks and us finally all staring at noise like a church for sensitivity training - commanded to the virtue of noticing.  Like if you removed all the signs from the world asserting "scenic view ahead." As if we could consider it all so. There is no thing to see, no "main thing." Just a forest and trying see every tree for it, any sufficiently complex sidewalk is indistinguishable from art.

see too: Michael E. Smith at 500 Capp Street Foundation

Thursday, June 14, 2018

Richard Rezac at The Renaissance Society


but different from minimalism in their contaminating themselves in faint veils of cultural signifiers. These look purposed. Look like other things vaguely. As their power.  "the elusive mechanisms of interpretation," They appear designed but without a purpose we can ascertain. We are so accustomed to objects bent to our service that appearing without purpose we call alien. The power of the uncanny is to teach us what we expect from certain forms by removing the parts that would cause recognition replaced with mystery, instead all the doohickies and flimflams and us wondering why we expected it to begin with. The flux capacitor must only look like the expectations a public has for such an object.

See too: Alicja Kwade at Kunstmuseum St. GallenRichard Rezac at Isabella Bortolozzi
Past: Richard Rezac

"And today we are more than acclimated to objects and commodities adapted to us, so much so that any object blurrying suggestion for the function they provide (to us) produces an uncanny effect. We say they look otherworldly, alien, simply because we don't know what good they are to us..."

Click: Richard Rezac at Isabella Bortolozzi

Wednesday, June 13, 2018

Zak Prekop at Essex Street

reverting impressionist attempts at revealing painting's construction that Prekop turns into a game, all the jazz hands of "how's it made." It’s easy to say what is good about these. There's a level of illusionism that defeating their ostensible lineage - abstraction's - matter-of-factness. We have a trust in abstraction that it isn't attempting to "hide" anything from us, its paint merely there, that these utilize against us as bait. Set the parameters and run. To mess the usual temporal signifiers of painting, what's on top not necessarily laid last, making for a confusion of the hand and appearing printed. Flat Cubism. Painting as the interesting display of its information, solving the problem of painting by heaping more on, a less neurotically charged Hans Hoffman's "push and pull" theory, painting reduced to interesting conditions.

see too: Zak Prekop at Shane Campbell

Past: Zak Prekop at Shane Campbell

"The preponderance of overly tasteful paintings today is, in one sense, critically justified through its “reexamination” of modernism, particularly looking towards the forgotten’s more decorative tendencies, Delauney, Munch, Jawelensky, Hantai...."

Past: Zak Prekop at Shane Campbell

Danny McDonald at Bortolozzi


since semio-space is more and more dominated by cultural IP whose worlds are tightly closed by labyrinthian legal frameworks. What you can and can't do with Barbie on an advertisement is governed by at least 10 pages of legal, and 40 pages of "best practices." So, like Puppies Puppies for who the rearrangements of our mass-culture mythos are open-sourced against their proprietary wishes. A bricolage of symptomatic sense: The mass majority of children learn of good/evil from summer blockbusters more than any Sunday doldrumming. This is our culture's totems, gods, so why not rearrange them on poles.  Or an exceedingly cynical gesture, compositionalizing and converting to hieroglyphics a culture however unsympathetic that culture may be, like we weren't already scratching our heads at it. The inkblot was deemed to have little psychologic validity besides registering the general gestalts recognized on by a culture. Yet here we are.

See too: Merlin Carpenter at MD 72Puppies Puppies at BFA Boatos

Tuesday, June 12, 2018

Past: Danny McDonald at House of Gaga

" belief in the formal beauty of the product, to Harrison’s abuse of their semantic connotation - demolitioning of meaning - and the cargo-cult pickings arranged as marxist totems, toys now bespeak a Pop-freudian analysis, a culture as its artifacts, dredging up the subconscious of culture - a C-3PO with robot tits, an Alien brain tumor, Schwarzenegger slurping a pink dick, the monster made to hold a mirror to itself"

Past: Sarah Charlesworth

"Stripped of their container, context, the images mutate amoeba-like they abstract, branching for grasp reference, a fluid in search of conceptual container, they become Rorschach blots, meaningless shapes drawing meaning from the viewer who wishes to name them"

Click here to read full Sarah Charlesworth at Campoli Presti
Click here to read full Sarah Charlesworth at New Museum

Monday, June 11, 2018

Julien Nguyen at Modern Art


carved with surgical precision, brandish the painterly like a sharp object. It lends a callousness to its images, figures, who, threatened by its scalpel, twist or elongate at the demands for painterly charisma. Like painting itself coerces the bodies into a marfan syndrome. One of Nguyen's closest counterparts might be Yuskavage overperformance of painting in colorful miasmas and overripe bodily distensions become here some masculine guile: doubling down on the biblical anachronism, stitching modern stylistics to old boards, a system for Nguyen to float brushwork as history unmoored and its ghosts redressed and cut up for today. Cartoon: Nail holes in flesh are instead rubies cut for symbols of blood, but there is none, no transubstantiation, only the artist's paint as the end game, bloodless, or this painting's aortic reds and blue chambers, like a diagram for heart.

See too: Lisa Yuskavage at Contemporary Art Museum St. Louis
Past: Julien Nguyen at Freedman Fitzpatrick

"...and ripple with sex. Variance in finish shimmer like veins in marble or cocks, undulating detail as arousal: detail is attention paid, stimulation, titillation. For anyone who ever found eroticism in the restraint of Piero della Francesca, here is your proof melting with Althoffian foppishness.  Hemorrhage sex like a bruise..."

Click: Julien Nguyen at Freedman Fitzpatrick

Sunday, June 10, 2018

Amy Lien and Enzo Camacho at CCS Bard


I said to him, I said look we've become fishwrap, yesterday's newsprint swaddling the sales of markets today. Is all text doomed to becoming wrapping paper? the metaphorical fill softening shipping through networks and padding CVs? Artists are given weird powers of sedimentation - they can objectify things, make coins of text, turn concepts into property. Krebber's painting the critiques seemed to quickly doom the blogs, one immediately, proving their word's impotence against commerce. No critique - however acerbic - was going to stop a transaction.  Dear Arjan, I was going to say that Schjeldahl's critique of Koons was important: "To stroll into the Sonnabend Gallery today is to be gang-banged by a crew of inanimate demons." "You can love him or hate him. Either way remember this: it doesn't matter." "He is going to be rich". The Krebberian stupidity of objectifying blogs didn't matter, it still gave them the physical chip that allowed barter, the thing writing can't quite give itself. Buy my book.

see too:  Henning Bohl at Karin GuentherCalla Henkel & Max Pitegoff at CabinetAmy Lien and Enzo Camacho at 47 CanalAmy Lien, Enzo Camacho at various locations,

Friday, June 8, 2018

Monika Baer at Barbara Weiss


Baer playing her own game of painting, our fun is figuring out the rules. There are many ways to play painting acceptably - we, like canvas, can support both Merlin Carpenter or Carvaggio - ideologies that Baer seems to enjoy abutting in flat statements for all static they can generate. Mixed modes that present a sort of meta play of figuring out which boardgame entered. These churn Ryman's milk to cream: the monochrome nullification of the "picture" displaces content to the edges, surface, and hardware which are little comedy acts: "a moment of resistance that appears absurd in its utter ineffectiveness."These are bit more buttery than Ryman, a sensuous to the topography which refuses to totally negate the "picture" with color, comedy. Pleasures are denied and reinstated, the picture plane is mocked with cartoonified sweat but open to atmosphere, the viewer is asked to look in only to be pressed out by a little turd. I'm not sure how you win.

Thursday, June 7, 2018

Juliana Huxtable, Carolyn Lazard at Shoot the Lobster


Stomach tentacle impregnation sci-fi oviposition auto-immunity colonization fur, eggs. "There are different perspectives of everything, and Ovipositors are no exception. Many like to envision an alien creature that wants its eggs inside you. It can be a little intimidating or off-putting to those who do not fantasize about being the willing or unwilling host of alien beings inside them. It blurs the line of our own humanity to find sexual pleasure with something that is so far from human, and for some, just talking about it gets them."-LoneWolf

"How to be a Person in the Age of Autoimmunity" - Carolyn Lazard "This begins with the last meal I ate without being afraid. I remember it vividly. My friend Buyong was visiting me in Paris." "The experience of sickness is profoundly alienating. The difficulty of communicating illness is evident in the poverty of language available to us to describe our physical ailments. We express by simile: it feels like someone is stabbing me repeatedly with a sharp knife. It feels like someone is grabbing my intestines and squeezing them. It feels like I’m trapped in my own body."

"Finally, there is the very difficulty of finding a grammar and vocabulary to discuss shit and its metaphoric place within Disability Studies. Identity categories are notoriously liminal, and though standpoint theory offers some strategies for articulating one's situated knowledge, there is still a tendency to locate one's self within artificially rigid boundaries. Thus, Eve Kofosky Sedgwick can identify herself as a straight woman doing queer studies, and Robert Young can identify himself as a white man working in postcolonial studies. But I cannot identify either as "PWD" or as a "TAB" (person who is temporarily able-bodied). I am neither or both, depending on the moment and my state of health. Do I thus revise and articulate my identity category on an ongoing basis? Like shit, which disturbs so many cultural norms, people with Crohn's diases (and "disease" is itself a medical and existential category which often resists stable definitions), can disturb identity categories and raise complex questions of power, transgression, and the damning issue of the imposter syndrome which are hard to critically deconstruct."-Dr. Cindy LaCom

"the "oral invasion" functions as "payback" for the many horror films in which sexually vulnerable women are attacked by male monsters. On one level it's about an intriguing threat. On one level it's about parasitism and disease. And on the level that was most important it's about sex, and reproduction by non-consensual means. And it's about this happening to a man."[112] He notes how the film plays on men's fear and misunderstanding of pregnancy and childbirth, while also giving women a glimpse into these fears.[113] Film analyst Lina Badley has written that the design, with strong Freudian sexual undertones, multiple phallic symbols, and overall feminine figure, provides an androgynous image conforming to archetypal mappings and imageries in horror films that often redraw gender lines.[114] O'Bannon himself later described the sexual imagery as overt and intentional: "One thing that people are all disturbed about is sex... I said 'That's how I'm going to attack the audience; I'm going to attack them sexually. And I'm not going to go after the women in the audience, I'm going to attack the men. I am going to put in every image I can think of to make the men in the audience cross their legs. Homosexual oral rape, birth. The thing lays its eggs down your throat, the whole number."

"In several interviews as well as in her afterword to "Bloodchild," Butler explains the different situations that led her to write the story. To begin with, she wanted to "write out" her fear of her body being invaded by a parasitic insect, specifically the bot-fly. She also wanted to write about a human male becoming pregnant; about the risks to his body as well as what it would take for him to have maternal feelings towards his alien brood, and so she ended crafting a story about a symbiotic, loving relationship between two very different species. This is why, she insists again and again, critics read "Bloodchild" wrongly when they argue it is about slavery. Lastly, she wanted to write a story about "paying the rent"—of how a realistic depiction of human immigration into space would not just repeat the colonialist tropes of traditional science fiction but rather require some quid pro quo or "accommodation" from the part of humanity.[2][3][4][5]


Imposition of female experience on a male narrator
Critic Jane Donawerth observes that " [i]n this short story...the conventional adolescent male narrator/hero is punished by rape, incest, reproductive exploitation by the dominant race, and anticipation of a painful caesarean birth--and he is expected to like it, as women in many cultures have been expected to comply with their oppression." Specifically, the narrator takes on the role of black females slaves in the United States, who were "forced to carry the offspring of an alien race." [6] Kristen Lillvis further argues that this reference to historical reproductive slavery allows the male narrator to have "access to the power of maternal love" that follows the "tradition of nonphallic maternal authority that developed out of black women’s experiences during slavery."[7]

"Like Brancusi's bird in space both phallus and colon."

See too: Vincent Fecteau at greengrassi

Wednesday, June 6, 2018

Tony Cokes at Greene Naftali


"Printing, having found in the book a refuge in which to lead an autonomous existence, is pitilessly dragged out onto the street… If centuries ago it began gradually to lie down, passing from the upright inscription to the manuscript resting on sloping desks before finally taking to bed in the printed book, it now begins just as slowly to rise again from the ground. The newspaper is read more in the vertical than in the horizontal plane, while film and advertisement force the printed word entirely into the dictatorial perpendicular."
Walter Benjamin, “One-way Street”

The dictatorial perpendicular enforced the decrees of the powered and wealthy, but now text is aerosolized, language appears from all corners buzzing up from your hand to see newscasts across the continuum. An economy of speech value is recalculated on the ability to harvest attention. And how many novels, even great ones, have come out in the last couple year that read like sporadic bulletins.  We make sense of the world in lozenge form. Compartmentalized by the feed, everything must self-contain. Cokes' amassments of others' don't make sense but sure read like poems of how text feels today, a glitchy attention deficit, while the videos chop longer texts into segmented, and affectually applied by music, chunks. They are difficult to read but they command attention.

Tuesday, June 5, 2018

Ken Okiishi at Reena Spaulings


By throwing their stuff, themselves, into the ocean they were able to keep a freedom, their lives, a paradox that Okiishi has obvious misgivings over placing current lives back in the desert buried. Stripped of your heritage how free did you remain, the question. Now Okiishi, a new transport of history towards oceans which left the LA Times wondering what was in the puppet head box rather than the seemingly more pertinent question of this displacements of an Ames Iowa basement's catalyst. No one packs up a van without reason, a much less exciting white Ferrari of Okiishi's time vehicle, precisely one car load, kept, allowed into the future. The amount one can carry. What can be preserved as our possessions-as-selves eroding in time streamlined against current's abrasion. Which amass more in new homes. What will be the last object of yours finally cast into waste by your children? Objects carry briefly into tomorrow, but the artist is allowed attempts to loft their objects onto the generational ships of museums, while entire histories of others are and have been lost.  Like Dahn Vo's attempt to carry Martin Wong's possessions, or even Cianciolo's corrugate time vessels, we allow a certain amount of artistic provenance into the future, and all the hope for it.

See: Susan Cianciolo at Modern Art
Past: Liz Craft

"could wish our communicado could find space for ethereal content, walls to text become brick to evoke a feeling rather than language, emoji mise-en-scene."

Liz Craft at Real Fine ArtsClick here to read full Liz Craft at Jenny’s

Monday, June 4, 2018

Charles Ray at Matthew Marks


Finally finding a material to embody the mercurialness previously only conceptual seemingly allowing the more banal subject recent, finally treating the human as the minimalist cubes - forms nudged to psychedelia, reflective folds in aluminum just phantasmically melting before you. Terminator 2 spent an equally exorbitant budget to give the T1000 its technologically advanced look, seeing archetypal forms rendered in technologic detail exquisite. A certain mole mentioned in the PR. Think before how a circular partition of wall was - though seemingly not - spinning at speed. The formal becomes archetypes of antiquity frozen, like stock images with an abject specificity of a certain mole mentioned in the PR. They look boring in photograph because the gloss of expense occludes the humans as means. But “One could say I’ve spent a great deal of time making very little of my subject matter.”

“School of Chairs” at 500 Capp Street Foundation


Generally faux pas to quote Deleuze and Guattari in art PR but done here sans quotational segmentation its easter-eggization kindly declines to brandish authority, a sort of refreshing removal of authorial heft, mirroring the experience of David Ireland and the 500 Capp Foundation itself in which the border between capital A Art from the much less authoritied world is fuzzed, like we removed parentheticals from the world, like if Art placed into the world simply became undifferentiated world, removed the differentiating potential of quotation mark's spell holding all the aura of all their respective authors and mediums with it. What if you mixed all Anicka Yi's sprayers with those of those of the hardware store. But instead the spell of a exhibitions checklist clearly delinieating the objects in the room, those of art from those which, apparently, are not, and cleary establishing provenancial lineage. Which against like D&G's Rhizomes' whole point, don't follow roots, grow potatoes.

See too: Darren Bader at Sadie ColesMichael E. Smith at 500 Capp Street Foundation

Friday, June 1, 2018

Liz Deschenes at Miguel Abreu


A career spent negating the photographic  window, pressuring the viewer out, left at surface, like looking out a window and seeing only glass. Early on Deschenes made landscape photographs of a spa town whose steam was eventually traded for silver, smoke for mirrors. And then there was also salt flats so grey and irregular they appear as mere noise, and the Moire patterns short circuiting your eyes and viewing, or the green screen years photographing what was intended to be digitally removed.  The photograms now are the result of a photograph without a lens, no focus but collecting all the light it touches into its photo-sensitive halides fixed as silver, photographs that feel like the information paradox of black holes: does the light that falls into the traps retain any of its information? Could you put back anything of the time or place? Maybe it doesn't matter, the point is to accumulate light for the gleaming of pressed diamonds.

Thursday, May 31, 2018

Piero Gilardi at Frankfurt Am Main


Another artist who fled after disgust at his own commercial success, his astro-turf so in demand they were "at times delivered to the galleries in huge rolls and sold to collectors by the yard."  What was it making an industrial mockery of the land so desirous to the rich. Was it death-drive chic, or did we think then it so fantastical the notion of artificial earth, or were we starry eyed over the possibility: the earth produced on rolls by the yard, or at least something imitating it. The artist came back, to produce it in hermetically sealed rarified versions, probably much closer to our reality, "Our world's end, celebrate it with a commemorative lamp" still in vogue:

Cooper Jacoby at Freedman Fitzpatrick“May the Bridges I Burn Light the Way” at STANDARD , Max Hooper Schneider at High ArtAmy Yao at Various Small Fires(OSLO)Nancy Lupo at Antenna Space
Past: Henrik Olesen

"the filthy human Olesen has, for a while now, been stuffing in crevasses"

Henrik Olesen at Cabinet
Henrik Olesen at Reena Spaulings
Gerry Bibby, Henrik Olesen at Sismógrafo

Wednesday, May 30, 2018

Past: Oscar Tuazon at Le Consortium & Paradise Garage

"that allows you to recognize or see what your brain would normally be too bored to see. So you notice even the boring stuff. See he has a feti-, er, intense affinity for the protestant, er, blue-collar, or like, see, he appreciates the common job, son. The vernacular, er, that's why nothing is that spectacular, er, that interesting. The muted tones. It's a moral ethic, son. Have you ever seen Bruce Nauman's "Setting a good corner?" Of course not you're five. Right. Okay you know that show you like, the one that depicts stuff getting made, or like those dog-eared books you have with cross-sections, cut-intos, of like houses and steamships? See Tuazon's sculptures are like that. You get to see everything, you notice the structure, you glean a moral appreciation for hard work. For the structure, son. Yes, son, endlessly romantic..."

Oscar Tuazon at Le Consortium & Paradise Garage

John Miller at Meliksetian | Briggs


What was so flashy twinkling across televisual space is frozen as the wallpaper of painting and hideous: television zazzle becomes the bad struggle to taxidermy it. The Price is Right, running for over half a century, has done something right commanding midmorning viewers through a Vegas labyrinth watching guesses at the price of garbage, but Miller's focus on the chintz is as much an attack on painting as much as any politics of mass entertainment premised on the evaluation of commodities. This the point surely. Because the television game is no different from the majority of dealers and collectors also guessing the eventual price or status of the painting before you. The critic/viewer only plays into the game because the paintings are dead, and bodies assessing providing breaths for its life support. The transpositional point where glitz is equal to the stagnant monochromes.

Tuesday, May 29, 2018

Donald Judd at Judd Foundation


Last week CAD you may have noticed went the entirety and a day without having to hear the pronoun "his" - a week without men - before a cruel about-face returning today to the cold metal schlongs of Judd at Judd. (Perhaps only softened by yesterday's Parsons's own stiff worldly segmentation, a toughness sure.) But too within Judd's megalomaniac austerity and attraction to hard rectilinears there seems way deep down some faintest window dressing, latent decoration, just slightly less than complete hetero-masculinty, a certain desire to see his contraption in new colors. Compared to some of his minimalist brethren Judd there are moments of Judd downright garish, almost camp.  Which doing some napkin math the series' dimensions - 15 x 105 x 15 centimeters - is, according the wikipedia page on the subject, within the statistically probable proportions of human penis length. Which now wondering how many sculptures would fit this description. Like Serras staggering concern for the erection set, something Judd's attraction to rigidness dressed in colors and sheens that feels just a little bit...
Past:  John Miller at Barbara Weiss, John Miller at Institute of Contemporary Art Miami, John Miller & Dominik Sittig at Nagel Draxler

"There's Yves Klein blue and John Miller brown, a color so untranscendent as to castrate any pretense of art's higher plane, reminding us of our earthly rope tethering bowels to earth. Miller blockades, belittles, our azure sky fantasy with the lesser order, everything we would prefer to forget immortalized over what had been our vacations, from drudgery."

John Miller at Barbara Weiss
John Miller at Institute of Contemporary Art Miami
John Miller & Dominik Sittig at Nagel Draxler

Monday, May 28, 2018

Laurie Parsons at Museum Abteiberg


Parsons, like Cady Noland or Lee Lozano, our fascination with those who leave the artworld. Like astronauts who never return, what did they find out there? They live on other worlds, but their objects remain in ours like clues to their disappearance. Sarah Lehrer-Graiwer followed the evidence leading to Lozano's dropout in a complete detective novel, but even finding her still alive in new worlds left her there and returned home to our world to write about it. Parsons's are objects from the world she went to, we are the aliens.

Sunday, May 27, 2018

Julia Dault at Marianne Boesky


The process oriented abstraction that gave us so much overwrought and gentle wallpaper whose blandness that proved its conceptualism takes itself a little less self-justifying here and more somewhere between no two Charlene von Heyl paintings looking quite the same meeting Sarah Morris's every painting looking the same in a Bernard Frieze like system where the means only somewhat justify the ends: a programmatic delivery of a consistent experiment, not inventing new processes but new designs for that product, not quite responsibility evaporated but chance fun.

Saturday, May 26, 2018

Kirsten Pieroth at Mathew


Residuals, remains, ashes, essence, marks, history, artifact. Your own level of animism denies or allows belief in encoding memory into objects. Or be like an On Kawara painting, encapsulating the object by presenting its ghost. Our fingerprints are ours, but we cannot be created from them. We leave traces, deformations in the world in our shape. At the end, ashes; perhaps your name scratched in history, or a hint of your face in a generation of children, offspring who are getting the residuals. But the object is gone, and like all behaved conceptual art there is a story.

Thursday, May 24, 2018

Louisa Gagliardi at Open Forum


Painting has body but ink has that sheen perfect in fashion, surfaces whose shapelies have been excavated until mere skeletons hanging clothes and skin to glow. That like Gagliardi's paintings the body cut for their tubular photoshop skin, cartoon mirroring our model's own el Grecoing bodies into lanky warbling sticks, printed in advert sweat, inks, magazine glass. That wet look, pavement in the rain under sodium streetlamps, inky, in the surfaces where even the lighting appears moisturized. Painting adopts different vernaculars, TOM FORD FOR MEN, appearing new.  A whole exhibition today called PVC fetishism - that the youthful today, raised in glass-inflected magazines, slick cartoons, feed though plastic, eventually adopt affinities for that torrent of slickness, we start to print our dreams on vinyl.

see too: Tony Conrad's GlassOlga Balema at High ArtOlga Balema at High Art (2)Nicola Tyson at Friedrich Petzel“Puddle, pothole, portal” at Sculpture Center,

Wednesday, May 23, 2018

Trisha Donnelly at Eva Presenhuber


Not quite the Ian Rosen whole-in-one, you can find more images on Presenhuber's website But Donnelly has made a career of limiting the availability of the document that feeds the current apparatus of art, instead corned into an esoterica through regulation, the Donnelly mythos floats on the inability to know, though even see actually seeing them never helped answer anything, the nebulous otherworld aesthetic that like H.R. Giger channeled an techno/medical aesthetic for a decade before finding in the Alien its embodiment that Donnelly refuses, a ghost.

See too: Trisha Donnelly at Museum LudwigIan Rosen at The Finley
Past: Trisha Donnelly at Museum Ludwig

"...abolish the possibility of a reference we can call common, bury it behind opaque markers. i.e. difficult to recount without resorting to the degrading telephone game of myth, scattered primary source quotes cut/pasted ad infinitum; the PR limbo bending backwards to avoid description, replaced with chimes; and objects which, even at peak banality aren't really describable without metaphor, some sorta whatsa type a deal. What you see isn't mine. Probably why there's such radical opinion difference, Donnelly's cult and the mudslingers. The inability to derive equitable terms, a reference to talk about, looking like slack-jawed yokels."

Click: Trisha Donnelly at Museum Ludwig

Tuesday, May 22, 2018

Huma Bhabha at Clearing


"often invoking the artifacts of art-history and civilization in primal, otherworldly forms. Huma Bhabha’s haunting figures can be viewed as a 21st century hybrid of ancient statuary and contemporary sculpture, while other works explore the poetics of abandoned and scavenged material" is perhaps one of the most honest depictions of our belief in sculpture's totemization of the art and the mystique of the runic object, stonehengification, perceiving a purpose we infer but cannot see, a culture that exists but denied to know to pour all our assumptions in big rocks.

Monday, May 21, 2018

Faith Ringgold at Weiss Berlin


2016, MoMA finally purchased their big Ringgold - of her 14 works perusable online, the first non multiple or tiny drawing- but then there exists not a single Gee's Bend quilt-maker, a tragedy like many at MoMA, as collections everywhere glacially and retroactively update their ideology to reflect today's culture and sculpture as Chauvinist Painting melts away and the body is allowed to have touched the things we hang on walls as if it had always been so. MoMA no longer leading culture, its dinosaur cruiseship seeming to lag ever further toward falling over the cultural world's edge. There are quilts in MoMA's collection, almost entirely by men - most notably Rauschenberg's paint splattered Bed using one as some found artifact worthy of covering in his vital fluid - showcasing its endless aversion to maternal labor as opposed to quilting itself. Notably of Ringgold's it was not a quilt that MoMA bought but an oil painting.

see too: Susan Cianciolo at Modern ArtJessi Reaves at Bridget Donahue

Sunday, May 20, 2018

“Fantasy is a place where it rains” at Fanta Spazio


Framed to the architecture rather than aligned to the artworks the document appears as looking off into some middle distance, gazing longingly out, some sea out there. The photograph looking at nothing in particular embodies your own moments interiorly lost and stuporous, half-smile leaking under your unfocused eyes, capturing all the air and aura of the gallery like a wreath.

Saturday, May 19, 2018

Paul Mpagi Sepuya at Document


Perhaps the difference from Tillmans is proven then by its flaunting the camera as possessor, the machine which embeds the photographic capture as loss, everything moving away from the machine indeing time we see now but was. These people, these bodies, moved away from this moment and its crux the camera, projecting the point. It's horribly romantic but it's true, time intransigently on, surely stupid to point out, but painful to see every-time we see it, this, our, present meeting some past and knowing now us too then. It's why so many photographers are want to document the youth, embodiment of the photograph's eternal nubility as we all die, see you then.

Friday, May 18, 2018

Lucy Skaer at Peter Freeman


The diamond must be faceted, a value predicated on an ability to shine. You see it sparkle, present its interiority.

Thursday, May 17, 2018

Past: Lucy Skaer

"...A good piece of jewelry loads the subject with meaning. A pearl necklace over breast, a man with a tramp stamp fetish, a single gold stud in the nose. These things load their subject. A pin stripe on a car, a chrome bumper, a piece of jade set into marble, vajazzaling its nude surface."

Past: Lucy Skaer at KWLucy Skaer at MRACLucy Skaer at Murray Guy

Wednesday, May 16, 2018

Korakrit Arunanondchai at Clearing


Making Matthew Barney seem sober, the YBAs subdued. We see the surrealism in theatricality stemming from, say, the carnivalesque sludge biomes vitrines of Max Hooper Schneider, Ajay Kurian, or Anicka Yi; embalmed trash of Yuji Agematsu; the Ikea jungle of Rashid Johnson; the faux/real haystacks Amy Yao, even the steaming shirt of Michael E Smith. I guess they were all stealing from Thek who stole from... who stole from.. , so maybe it is acceptable, maybe they're all friends. But the theatricality has been jacked to new heights, torn from a Chuck E Cheese. But the one thing we're maybe all growing tired of is the apocalypse presented to us in iPhone styles, the fetishization of our new trendbook, like its inevitable and your the first person to try and ride the wave of our demise by selling it back to us.

see too:“May the Bridges I Burn Light the Way” at STANDARD (OSLO), Max Hooper Schneider at High Art, Ajay Kurian at White Flag Projects, Kahlil Robert Irving at Callicoon Fine Arts, Ajay Kurian at Rowhouse Project,  Amy Yao at Various Small FiresAnicka Yi at Cleveland Museum of Art Chadwick Rantanen at Essex Street, 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 HilberryAmy Yao at Various Small FiresAnicka Yi at Cleveland Museum of Art