Tuesday, August 9, 2022

Phillip Allen at The Approach


Like a food scientist at the forefront of taste, on the eve of the Dorito, artists' approach to consumability is a less direct rod to dopamine receptors yet no less disinterested in creating Fruit Loops.

Monday, August 8, 2022

Rinella Alfonso at Project Native Informant


You can't tell the difference anymore between young and old art. Is this an artist of the 20th century reemerging, or is this someone who doesn't remember Francesco Clemente  or 9/11? Today's paintings emerge from any age. Previously, you had been able to tell, you would say this is the forefront, made by a 20 something in Berlin, but today painting emerges antiquated. Today we like the old things, it gives the appearance of being longlasting. 

Paleototemism: stonehengification

Sunday, August 7, 2022

Jessie Homer at Various Small Fires


The self-proclaimed “regional narrative painter” who honeymooned at Elizabeth Taylor's estate and lived at "an idyllic 2½-acre estate in Beverly Hills." Grandma Moses or Clementine Hunter style depiction of rural cemeteries inflects differently painted from the window of wealthy LA county. "Self-taught" but in a Beverly Hills estate sense. None of this would matter if folk traditions weren't generally class traditions. 

Saturday, August 6, 2022

Kinke Kooi at Lulu


The coastline paradox: any increase in measurement's accuracy produces a commensurate increase in length: better measuring only moves a coastline's mileage towards infinity. Similar a hyperbolic geometry like green leaf lettuce and frill and Kooi's superfluity - increases in a descriptive power only release further metaphor, an excess of reference, description becomes the watering can, flowering a loaded lettuce content, a power for suggestion, leaving you, pervert, with pesticides spread against tumescence. 

committing language: Kinke Kooi at Lucas HirschRon Nagle at Modern Art

Liz Deschenes at Fraenkel Gallery


 Like a more bejeweled question of On Kawara: does the index/signifier retain anything of its original? The question is repeated ad nauseum throughout contemporary art. Like all worst aberrations of art, its a question on life support, unanswerable and asked for affect of evoking it. 

conceptual art as one hand clapping: Yuji Agematsu, On Kawara at LA MAISON DE RENDEZ-VOUSOn Kawara at the GuggenheimKirsten Pieroth at MathewSam Falls at 303 GalleryJames Hoff at VI, VII

Friday, August 5, 2022

Past: Liz Deschenes at Miguel Abreu

"A career spent negating the photographic window, viewer left at surface, like looking out a window and seeing only glass...

...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 the time or place? ... it doesn't matter, the point is to accumulate the gleaming of pressed diamonds."

Full: Liz Deschenes at Miguel Abreu

Thursday, August 4, 2022

Stephanie H. Shih at Harkawik

Like Silly Putty spread across the City, the katamari of art picks up its displays, content. Gathers the city, reroutes it back into the Museum as a cultural enrichment program.  

An appreciation for the sign painter, whose vernacular does what Painting cannot: communicate without pretense, anxiety. The sign painter functions, the artist does not. "They start to scratch at what we crave: not looking like art. Because art is mannered, stillborn, cliche." The long history of artists wanting to be anything but. 

They become totemic or omen-like, mystified, connote but do not mean, become hieroglyphs of a culture lost.


Sign painters: Mark Grotjhan at Karma, Lauren Halsey at David Kordansky Gallery 

David-Jeremiah at Meliksetian | Briggs


The inkblotification of art meeting its stonhengification. Luckily they ironize each other. Turning trope to monument. Turning the trope theatrical. An overwrought materiality one can appreciate. Like Pope.L, a joke that dissipates instead into the punchline of expectation, blackness for your projection.

see too: stonehengification, InkblotPope.L

Wednesday, August 3, 2022

Deshaun Price at Neue Alte Brücke


Glass holds the juice, painting, the signifier of art. Held aloft in white air. Floats in glass, canvas, gallery, as the invisible structure for what we really want, the markers of art liquidity. "...Drawing ripples in surface to activate [painting], tap the vast depths of painting's cultural wealth"

The juice theory: Anna Zacharoff at Neue Alte Brücke

COBRA at LambdaLambdaLambda


There's a joke in here somewhere about a caged bird as a metaphor for art, not singing but fried as painting. All creativity must be caged, painted. Or maybe it's just a couch painting for your song bird, happy he isn't a worker forced to factory production for eggs. Why the caged bird...

Tuesday, August 2, 2022

Past: Daniel Rios Rodriguez

"You can't paint a flower without ironizing its loveliness... Sentimentality drips into its performance ...and we blush for the artist having fallen into the trap of their own subjectivity for them. Thick paint helps. It  ... expresses materially the same excess as the subject is. Confidence in clumsiness, endlessly endearing..."

Monday, August 1, 2022

Evelyn Taocheng Wang at KAYOKOYUKI


"fragile candy, soft and hard shell, capturing its affect in an art lozenge. Swallowable. .... affect is captured, the feeling, packaged."

It's a personal bias - associating sumi with chintzy prettiness, a touristic souvenir art. "takeaway objects of little import but hold significance. ...tchotchkes are transactional objects made for the transference of the buyer's desire. The souvenir acts as a placeholder for tourist's urge.. likely some vestigial expression of our sexual selection's wiring, which is why so many of them are cute. "

Alexa Hawksworth at Theta


Giger is hot again so maybe YA book covers - Animorphs via Francis Bacon - seem proper art fodder. A biomorphic carnival. One would wish we could treat illustration as a proper art form - experiments in the commodity aesthetic. Experiments in looking cool as hell. A less disinterested form of connoisseur. "Connected such that our higher faculties have no defenses against. This is not tasteful consideration at a distance but thrall of slumber, dreamed emissions, sick drawings."

Illustratively sick: Kennedy Morgan at Delaplane and Cushion WorksKye Christensen-Knowles at LOMEX

Past: Lena Henke

"... their genericism becomes strength. A low poly mesh provides metaphorical possibility [because of] its low resolution. ... Even looking digested, worn at by smooth muscle of artistic intestine... Because the turd is a form morphing in a viewer.   The dimensional Rorschach, the sculpture everyone makes to turn down and see themselves reflected in the water at, a picture of you for your interpretation.

"Ambiguousness as a means for the simultaneity of image, of surrealism. A tree sort of looks like a horse so we can put them together; a cloud can look like anything, much like a turd, some will see interest."

"...apparent in those like Henke for whom physical things act as moments of duplicity, locus for multiple apparencies.