Saturday, June 15, 2019

Raque Ford at 321 Gallery


need to manifest text as an aesthetic physicality. At its worst generally involves fabrication budgets for neon, like how little distance we've come since Nauman.
3. We don't trust text alone in space - god forbid we come across as pedagogical, or worse boooring, or, worst, wrong - so we aestheticize it, ironize it, make it sparkle, cut it to a koan, so the lash of language is tempered with comfort, which are aesthetics. There seems no art text not couched in some.
(4. While wall text is, oddly, left to its own institutional devices.)

Despite, when Ford's are their most direct, cut and left dry, they retain all the enjoyment of flipping through artist notebooks. The aestheticization is more the provisionality, but it's a natural form.

Thursday, June 13, 2019

Gene Beery at Fri Art


"Of course the painter feels a private respect for the signboard, it performs what the artist cannot. The handcrafted simplicity creating a directness of intention that art is forbidden. Artists' private esteem for the simple, functional object. These objects against which art feels inconsequential, inadequate against an elemental usefulness."

Beery toys with this functionality, a slight haywire version sparking in the walls, threatening to burn the whole thing, meaning, down. The trueness of statements, their ability to make sense, becomes if not beside the point, a thing to torture. Not the treachery of images, but the treachery of saying anything at all. 
Past: LaKela Brown at Lars Friedrich

"Commodity displays look a lot like our information displays, the Google images that look a lot like old toy catalogs, inventories of our blossoming desires anointed with the heavenly light of product photography pornography, offering a selection menu that is overexposed, bleaching like coral reefs whose left white skeletons trace a once thriving culture. The ecosystem remains a ghost of taxonomic fossils remaining, held for the assessment of all the dreams of a life embedded."

LaKela Brown at Lars Friedrich

Wednesday, June 12, 2019

Past: Gene Beery

"no wonder the surrealists and conceptualists loved Beery (artists handing him hundreds on the spot) words can perform in a way that art doesn't, forming an address almost inherently surreal, a transmission between people, almost infiltrative, allowing its horsemen direct access to your head, to say whatever it wants, and already there, words standing around inside you."

Josh Smith at David Zwirner


Maybe what Smith actually provides is relief. Against paintings overdetermined to like the nth degrees by whatever surrealist imago kool-aid the artworld currently swimming, Smith's is an interminable vacation to fields of ever stupid flowers. None of these painting individually matter. Functional. Require zero attention. Just exist like idiotic specimens of a genus Smith. Perhaps this is what Eliza Douglas was responding to, an idea executed, eventually you live long enough with it to learn to love your captor.
Past: Josh Smith at at Eva Presenhuber, Josh Smith at Bonner Kunstverein, Josh Smith at STANDARD (OSLO)

"What was with our fetish then for exaggerated manufacture remains a question, for since we've grown tired of zombies that Smith and the gang had some hand spawning, Guyton, Walker, Price, a group for whom production was theme: recycling, automation, dispersion and Smith's prolificacy spamming himself into consciousness with grotesque versions to prove the mass, beating his name and himself in the head."

"now they sorta look just like any other painting made today. The wild importance of Fordist speed (and its in-distinction) creating busywork spam into cultural consensus..."

"the final internment of line between critical and sellout"

Josh Smith at at Eva Presenhuber, Josh Smith at Bonner Kunstverein, Josh Smith at STANDARD (OSLO)

Tuesday, June 11, 2019

Eliza Douglas at Overduin & Co.


Not so interesting perhaps from a PierreMenard/Sturtevantian vantage (the whole tongue louse, deterritorial author theft well trod), but maybe as a continuation of Douglas' clever ideas for coating painting in a candy shell, creating frames that exist as excuses for painting. Like before's hands which cast spells for some sloppy "painterly moment." They feel sorta cheap (it would not be the first time the artist has ordered paintings from China) and that seems too, the point, like Smith's lame name, a mere means to fill an exhibition.

In late 2014, hearing that many schools in Europe were free, she called a friend who had gone to the Städelschule in Frankfurt—one of the top art schools in the world, with a reputation for fostering experimental work. She set up a Skype date with a professor, painter Willem de Rooij. Then, with two weeks to go before the meeting, she got to work. 
Douglas began painting abstract forms on random objects around her house—aluminum foil, found images, a set of Batman bed sheets—and photographed the results. She reproduced the images on small canvases using the kind of print-on-demand machines you find at CVS and Walmart, then painted over them again. 
“I thought it was a good way to get a lot of decent-looking stuff made really quickly,” Douglas says now. “I was thinking about how I might be able to get him to think that I was doing something more elaborate than what I really was.” -Taylor Dafoe, artnet
Past: Henrik Olesen

"the filthy human Olesen has, for a while now, been stuffing in crevasses" "flakes like your dead skin collecting under beds with dirt as dust, the cells that Olesen keeps adhering like wet toilet paper to everything, and the hangnails sticking out from walls"

Read full:
Henrik Olesen at Schinkel Pavilion
Henrik Olesen at Cabinet
Henrik Olesen at Reena Spaulings
Gerry Bibby, Henrik Olesen at Sismógrafo

Monday, June 10, 2019

Polly Apfelbaum, Isa Melsheimer at Galerie nächst St. Stephan Rosemarie Schwarzwälder


Everything in the artworld is in an inflated state today, the material is in excess, the color is set to full, surrealist cartoons everywhere, the world is slapstick. Our Fragonard moment, new rococo, a constant pummeling with rosy perfume.

Sunday, June 9, 2019

Trisha Baga at Marta Cervera


A genuine gesture to provide the 2D version just to really prove you're not seeing the 3D version, evidence of your distance. But providing the crappy version at least tries. Maybe you've got your own 3D glasses at home. 

Saturday, June 8, 2019

Leda Bourgogne at Jiri Svestka


The PR, which turns todays art buttons into a machine gun hail of bullet cover, is perhaps more interesting. All of art's terms somehow loaded into its clip, the first paragraph: "complex installation," "allusions of historical painting," "meticulously built,"  "assemblage," "power relations" "contingency of identity constructions", "objects as suffering non-normative bodies," "thematizes," "objecthood of the image," "fetishistically,""the subconscious" "pointing out power relations" "multiple levels of affective" "between"x4 "constant shifting of focus."
The second paragraph begins with our guy THE DANDY. This should be horrible but somehow it's not, it's too much fun.

Friday, June 7, 2019

Cady Noland at MMK


The means through which we connect. Noland's inventing then what has become widespread today, an archaeology of modern society in art poetics, using objects to denote the human. These things were made for us, they are evidence of us. Turns out the poetry of the modern world isn't pretty, but instead a lot of connections through galvanized steel.

Thursday, June 6, 2019

Past: Diamond Stingily

"and how did natural black hair become a 9 billion dollar industry so profoundly contentious it led Chris Rock to make a documentary about the subject with a Rotten Tomatoes 95% approval rating after his daughter at three asked why her natural hair wasn't "good?" Disneyfication, conforming a subject to dominant culture's preexisting expectations of how that object should be, making for a lot of unnecessary and uncomfortable changes." "...forever ambiguous until looked upon which like the quantum cat's vitals inside a box, a physical attribute achieves a superposition in culture, a sort of walking contradiction as a symbol of power at the same time it leaves open the wound for the bitter slight, Becky with the good hair.'"

Diamond Stingily at Queer ThoughtsDiamond Stingily at Freedman FitzpatrickDiamond Stingily at Wattis

Wednesday, June 5, 2019

Ulrike Ottinger at Kirchgasse


If Matthew Barney somehow didn't know of Ulrike Ottinger's oeuvre then a medal is in order. Others have made the connection in terms of gender, surrealism, mythos, which is accurate if vague horoscope retro-prediction. But the more distinct fingerprint lay in Ottinger's use of the promotional still image as a mode itself, able to connote and transact meaning equivalent to the film, a received token with through which to speak, a common communal currency. Barney had to have known of this when he turned the promotional image into a metastasized hypertrophic version involving stylists, lighting and image consciousness to an extreme, into basically Levi's ad campaign of artistic hubris. Cremaster succeeded, regardless any filmic merit, on its ability to manifest excitement and intrigue as a promotional vehicle, a cultural mythos that mirrored the mythos within. At the time you could almost talk about Cremaster without having seen any of it, the image was so omnipresent. Seeing was of less import than having being able to have an opinion and know of it. Having gained traction ever since, this form of promotional vehicle cannot be understated in importance post CAD/insta etc. when pipes and what they can funnel is tantamount.

Tuesday, June 4, 2019

Erin Jane Nelson at Atlanta Contemporary


As the cultural detritus of artist's childhoods coagulates as surrealist irruptions, we become evermore surveyors of trash, the unconscious waste of time. That which sinks to bottom, the marine snow of populist energy discarded. Stuf. Culture is automatism, and artists become the process of its barnicalization.

Monday, June 3, 2019

Angela Bulloch at Simon Lee


As movements and their banners fade the artistic remainders, no longer surrounded by their fanfare, makes apparent all the mannerism. What conceptual premise even was there against a blinding stylization? Why were we into the ephemera of design projects? The the final 2008 trumpeting of its moment now reads as literal explanation, theanyspacewhatever. And all the critiques reacting and filling the vacuum, Bishop's antagonism or Scanlan or whatever. The work has aged horrifically. And as much as the now any space - devoid of its party - showcases all its vacant stylings for said party, it is also perhaps that our current moment, dominated by the circulated image (and its ability to be read immediately) as tantamount makes these images appear vacant, that 2008 was perhaps the last gasps of when theory, academia, Artforumal banter, or any sort of thought outside surrealist imaginings had some sort of sway in art, filled the air with chatter, a lack of which now make the past appear vacant because we lack chatter.

Saturday, June 1, 2019

Luís Lázaro Matos at Project Space 1646


It would seem that no amount of thinking about alien life could release us from any sort of anthropocentric prison. Thinking about aliens, we design childhood bedrooms by accident.