Friday, October 18, 2019

Contributors!

The question of how could CAD expand yet retain the power of its single panoptic window, its Borgesian aleph.

The question is, does adding more towers, more bastions to the territory further legitimate the eyes. Ostensibly the reflection should be more complete. But somehow this ruptures the myth: CAD sees all things through the panopticon's prisoners, us, remaining uncertain whether/when they are being viewed, manifesting a permanent suspicion for the surveillance, artists seen, manifesting sympathy to the system, its code, aesthetics, a guilt under omniscient god. This is, humbly, CAD, a stand in for the system itself. The funny fabrication is that there weren't contributors before. But now the eyes in the Forrest will bear names, and while they always did, we've entered this distinct land labeled "curation."

CAD harbored power through the - however distant - implication of providing a true full survey. While this was not the case, CAD was closest thing to, providing a, however warbled, singular reflection for everyone to latch like curmudgeonly barnacles upon. (I can think of no other image blog placed on CVs as "press.") And so too the warbles and hotspots in CADs mirror became charming if glaring. (I know of at least one collector whose entire collection is itself a representation of this CAD mirror.) A large and uncanny mirror was something we had deep down hoped for, to see ourselves reflected back in. A large glaring mirror that was ultimately unfortunately usurped by the atomization of mirrors into our hands and instagram as the new form of glass, etc. a new glass further catalyzing capital's individuation and fracturing the social mythos and accelerating postmodernity's collapsing of grand narrative, that CAD, for a brief minute, relit, CAD, arguably even unconsciously lit itself on this desire for this myth of narrative, progress, of even just keeping record. It was the biggest, shiniest glass.

This now transformation into a tentacled curatorial being exchanges its myth of linearity for curations construction of individualized "voice." No longer attempting consolidation of an "artworld" (however arrogant) but instead giving curators a chance to attempt their opposite, build their names "voices" for their vision. Again however flawed or doomed a singularized vision is, it stands out amongst the massive fractalization of pretty much everything else. CAD was reliably two shows daily, Sunday only one. 8 years ago that had felt like drowning. Now it is a welcome relief against further orgiastic image hydrants, put your lips toward. And it is noteworthy that these new curatorial names come with CV attached, "Tenzing Barshee is an..." "Erin Christovale is the..." Interesting because CAD arosen without credential, for whatever reason we gave attention.



Questions for your bookclub:
1.While Clement Greenberg ushered and reigned in an era dominated by chauvinist white language, could CAD be said to herald an era where no language exists, is instead negated by the sheer multiplicity of image, "given over to the visibility apparatus itself"?

2. Are Curators generally attempting to survey the field, or they are instead creating their own individualized territory or "voice"?

3. Is CAWD always a bit of a spoof of that clean white subjectivity-less authority?

4. Does CAD risk fracturing? After how many spigots? In the deluge, can more ever be a solution?

5. Would then the ultimate solution be a map as large as the territory is big?

6. Does CAWD place an inordinate amount of capital and importance in CAD? Is this a symptom of Stockholm Syndrome?

7. Since those with pedigree and institutional accreditation are the only players with power to legitimize and make visible, shouldn't we be paying attention to this pedigree, to those with this coronation anyway? Wasn't that CAD's great insight?

8. Why could CAD becoming over 10 years the major holding of artworld documentation and de facto bearer of the mirror without any previous pedigree be an important distinction?

Wilfredo Prieto at Annet Gelink



Whereas these image do well transacting through networks, individuals well conformed to images, the modern philospher stone held in your digitally connected hand for a moment of contemplation as you go about your day.

Kate Newby at Cooper Cole


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Detail views. An enforced sight, enforced noticing. An almost moral underpin, asking for sight, a penance in attention.


see too: Kate Newby at Kunsthalle WienKate Newby, Daniel Rios Rodriguez at Nicelle Beauchene

Thursday, October 17, 2019

Past: Pedro Wirz

"We all fear for lumps inside us, unchecked growth, a malignancy, "matter out of place," "the contaminated diversities that proliferate in the dump." Fear of toxins, poisons, heavy metal build-up, of heavy concentrations of micro-plastics in the great Pacific beverage, in parts per million, in tumors, cysts, bio-cucumlative, they add up in sediments in your blood, fat, balls, monuments, these fears into nervous objects, art."


Pedro Wirz at Longtang
Past: Kate Newby

"attention to naturalism, to the brown you may have noticed in stores having enveloped our packaging to stand for its green. .... Like the trend in homes, bars, everyone hauling reclaimed wood by the tonnage deep into the city, mass producing the natural, in attempt to reclaim some authentic experience separate from the glass we touch all day in pocket. But the glass like the gallery can bring us anything, it appears on screen, in white fields, in front of you, your touch of nature, your finger grease smeared on it."

"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.  ... removed all the signs asserting "scenic view ahead."

"... any sufficiently complex sidewalk is indistinguishable from art."


Read full: Kate Newby at Kunsthalle WienKate Newby, Daniel Rios Rodriguez at Nicelle Beauchene

Wednesday, October 16, 2019

Past: Julien Ceccaldi

"It is no coincidence that devotional paintings contain the same figurative depth as a iPad screen..."
"I've never been a Disney Princess, but I have been a corpse."

click here for Julien Ceccaldi at Jenny’sJulien Ceccaldi at LOMEXJulien Ceccaldi at Koelnischer Kunstverein
Past: Anne Collier at The Modern Institute

"'appropriation' post-internet is different indeed, no longer political or even contentious... It was perhaps the youtube era of Supercuts, garnering millions of views, tumblr collections, pinterest boards, the age of aggregators and the lines outside the door for Marclay's Clock, arrangement itself became meaning, content, "appropriation" went full populist. In the absolute deluge of images as the doors of internet opened it made sense for the archivist impulse to popularize, as safety, as people tried to make sense of the mess, of the overstimulation of everything all once, that could be divided arranged, made into little groupings of sense."

Tuesday, October 15, 2019

Latifa Echakhch at Dvir


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These occasional perspective oddities, switches to god's eye view. Exchanging the usual viewing experience for a maximum the information. A maximum information which stands in for the viewing itself, a purely fictional realm made for documentation. "Like a cartography on the ground" like god arranging his terrain, the pins on the map arrange the world, only the overseer, the omniscience we crave.


See too: Jessica Vaughn at Martos

Monday, October 14, 2019

Julian Stanczak at Diane Rosenstein


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OP art never seemed to get its due. An alter history to Minimalism. To which Op art was anathema, a reliance on our immanent biology instead of grand truth, axiomatic objects, specific objects. Op art was fucked up in comparison. Slippery, psychedelic, subjective. But with the current legitimation of  psychedelia like the neosurrealism before it, we can expect the retroactive rise of its forebears.

Saturday, October 12, 2019

Ben Schumacher at Weiss Falk


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Trading one techno for another, all the gloss of server racks, acrylic and glass exchanged for a roughdraft music fest. The success of fail of this artistic gamble, trading laser cut aluminum for cardboard, is placed on whether people cared for your ideas or that your art had looked like a new idea. It is a proposal.


See too: Ben Schumacher at Musee d’art contemporain de Lyon, Ben Schumacher at Bortolami

Daan van Golden at Micheline Szwajcer


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Wasn't the promise of van Golden's some eternal nubility, a candy whose wrapper never left it.
A sort of perenniality. Old paintings that don't look it. van Golden died in 2017, but paintings fresh. Wasn't that the promise of art. You physically cannot remove the wrapper.

Thursday, October 10, 2019

Juliana Huxtable at Reena Spaulings


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Difficult to write a history of the internet without mentioning its catalyzing a complete restructuring of identity that had been then slow simmering. The early dictum "No one on the internet knows you're a dog" had its counterpart: "No one on the internet doesn't know you're not a dog" and thus the furry. This was a miracle. Be who you were. An immaculate conception the IRL has yet to absorb and thus the Brillo pad friction when it irrupted in. We binged cartoons as Disney children to manifest them later in Goofy costumes, the Saturday morning cartoon education we devoured alongside hyper-processed cereals mapping our internal worlds in the same malleable cartoon goo. The world a cartoon, at least make yourself an artist.


See too: Juliana Huxtable, Carolyn Lazard at Shoot the LobsterEva Fàbregas at Kunstverein MünchenLisa Yuskavage at Contemporary Art Museum St. Louis

Wednesday, October 9, 2019

Since the Venus of Willendorf's tiny talisman, 30 thousand years of humankind's representing fetishizing, totemizing the maternal. Leading today to Yuskavage's ambrosial hazes. The feast of the Vanitas' balanced by looming overripeness. For Yuskavage this balance to its too-sweetness is made through its subtle representational violence against the women depicted, who in attaining this otherworldly ripeness are subject to subtle deformities, missing arms, noses, butts like egg sacs, breasts manipulated by invisible strings, contorted and culled to the desires of a culture. And Everyone wondering whether Nicki's butt is real, furry porn grown from Saturday cartoons given bodies like overinflated water-balloons, and subsections of violent pornography where the maternal is extracted and policed by the programmatic systems of capitalist production, in bondage and milked called human cow - there is a lot proving our cultural relation to maternal is at least a little fraught, and Yuskavage's paintings are a very tasteful representation of that.

Tuesday, October 8, 2019

J. Parker Valentine at Misako & Rosen


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Lines, they delineate. So, failing to produce the object, the quasi is given to viewer, an inkblot, a form they construct.  "difficult to articulate" the PR says, becomes painting of a mirage, handing the goo to a viewer left to sort spaghetti formed lines like tea leaves in you all along. Pareidolia.
Past: J. Parker Valentine

"expectations of legibility, depictive of some tip-of-the-tongue subject within a library of means detailing the amorphous thing it circles but fails to produce. There is the lure of subject object, the thing that will at any moment manifest itself in the definitive lines of drawing"


J. Parker Valentine at Juan and Patricia Vergez CollectionJ. Parker Valentine at Park View

Monday, October 7, 2019

Jeanette Mundt at Overduin & Co.


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Of gymnasts, the paintings lack their subject's deftness. Motion is given to a square smear. Instead Mundt's exude something permanently flat, dry. A relation to their subject is ambivalent despite their load. Mundt often targets content that is full of juice, yet is left on canvas to fall apart. A gap that reviewers seem unable to fill with their own: Travis Diehl seemed to conjure the process of glaucoma's blindnessTess Edmonson said about the film on which a painting was based: "the gallerist warned me not to watch it"; and Zoë Lescaze aptly called it "ready for viewers and critics to plot their opinions onto her body." Her body of work which fails to deliver on the subject. Failure isn't an interesting painting strategy in 2019 - we did that ten years ago -  but maybe a generous read is that these aren't so much failing as crumpling, like car hitting its subject.
Past: Raúl de Nieves

"Too much decoration... We call it 'gaudy' or 'garish' or 'lurid' or 'vulgar' no longer arranged but vomited in quantity, too much, like the clowns who baroque their face to comical levels, found frightening, a rupture of the socially decorous. Because these are ethnocentric terms, wielding the symbolic violence of 'taste,' and such it is rare museums didactic their greek statuary with 'this greek marble would have actually been caked in makeup, like a whore' preserving both the marble and myth of white antiquity."


read full: Raúl de Nieves at Freedman Fitzpatrick

Sunday, October 6, 2019

Shimon Minamikawa at Lulu Annex


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"fraught tradition of painting and repetition. One thinks of everything from Morandi’s heartbreakingly beautiful depictions of vases and bottles to On Kawara’s dry, no frills paintings of dates. The German painter Peter Dreher’s commitment to painting the same exact drinking glass for decades comes to mind."

would like to think of CAWD in this way, repetition, attempting to bracket something, everyday looking at the same glass. 


See too: Glass

Saturday, October 5, 2019

Tom Humphreys at Christian Andersen


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While Hupmphrey's gang has gone onto bigger better things, Humphreys doubled down on the stupid. Paintings like found in the bins of art school. The revulsion we feel at "bad painting" becomes proof of at least some internal power of painting. The Kippenberger game of self-infliction without the personality panache to recoup it, instead, again, paintings that don't relieve their stupid, but rub their face in it, even yours. This could be a Vittorio Brodmann or Nolan Simon situation, in which the slacker ruse eventually decurtains its prowess, reveal eyerolling deft brushwork, but Humphreys seems like someone who might commit to mud.

Friday, October 4, 2019

Past: Amelie von Wulffen

"...the history of painting comes like bruises into von Wulfenn's paintings. How images batter through time. We have memory of how painting was, how impressionism was painted, but it's wrong, like your head full of hangover, a painting full of malfunction, its shipment through time arrives damaged."


Thursday, October 3, 2019

Margaret Honda at Carnegie Museum of Art


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A press release that leaves nothing to the imagination. The firstly described "enigmatic" is quickly revealed from under the rug as reference. We get it.

Wednesday, October 2, 2019

Lucie Stahl at Queer Thoughts


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Stahl's PR placing in it, in the lineage of a romanticism, darkly what we have come to. No longer the romantic era representing ourselves as fathomless depths, standing in front of nature's crashing; we are now better feared as plumbing: oils, flows, pumps, fluids directed, misunderstood as monsters. The human body is indistinguishable from any sufficiently complex sewer. And while the gothic has had a resurgence in style, [see: Digitalat Centre d’Art Contemporain La Synagogue Delme] there is an undercurrent of a few who find gothic horror in mere reflection of the world. [see: Morag Keil, Georgie Nettell, Gili Tal, Will Benedict, Merlin Carpenter] This is our modern not southern gothic. A world already dripping black nightmare, that we pump from the earth, have constructed our world out of; Stahl:"the fluid fruit of their labor allows us to express the feeling we got used to calling freedom."  to which Henning Bohl states earlier: "Lucie Stahl has become the oil." That this all's apparent freedom may have only just come to feel like. A product pipe-capable. Art as fluids, pipes, same as any other product. We all are forced to become fluid, make a product for channels, be pumped. Morose in banality, yes.


Past: Lucie Stahl at Halle Für Kunst Lüneburg, Cabinet

"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."


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