Monday, May 20, 2019

Gillian Carnegie at dépendance


A sort of carving Euan Euglow by way of Vilhelm Hammershøi, an Arrangement in Grey and Black the number one thing is the references we could pile upon these. Peppered with Sphinxes whose riddle must be answered, painting. And us all tossing darts at meaning. Carnegie's slow career to worlds with no light, almost shadowless worlds reticent, seen in distant silver. All those butts and suns previous and no one makes a Bataille joke. Two reviews from the time instead horrifically conclude with allusions to the artist being "in the mood," the other having "the arrogance of a girl; one who knows how to get you off, when to put out and when not." No wonder Carnegie went indoors, away from the light's "ignoble shaft" "the indecency of the solar ray." Instead something mercurial, resistant to hands, and thus why all the writing on Carnegie is pretty much awful, this. Simon Thompson's letter at least refuses to attempt manhandling the situation, with and not at. If what Mayweather did was easy, all boxers would do it. Withdraw as a form of iconoclasm, luminous in rejection. How annoying to wither, die, under the mockery of a cat's impassion.

See too: Luc Tuymans at David ZwirnerThomas Eggerer at Richard TellesCaleb Considine at Daniel BuchholzCaleb Considine at Massimo de CarloVenice: Victor Man at The Central Pavilion