Thursday, June 2, 2022

Trisha Donnelly at Galerie Buchholz

Donnelly's game is plain, obvious. The detractors points clear: it's mysterioized, basic obfuscation as easy enigma. And the art, just skylines turned, reflected, solarized, whatever. CAWD could label them another example of inkblot art. (They are.) But despite, there still remains. And it is this affective quality despite, that becomes their carapace. Attempting to tell the detractors the photograph looks like deep sea evil, rapture, and that despite the rudimentary workings there's something occasionally affective. Despite. Think Nairy Baghramian uncanny lumpen, her photos of clouds. Or Michael E Smith's cancerous suggestions. It is this ability of Donnelly to separate and divide and make evil our inability to share feelings, to see christ (or not) in the photograph. The innocent question of "what you see" in the cloud becomes apprehensive. Yes the game is dumb, plain, obvious, the quality is despite.