Calvin Marcus at David Kordansky

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Against a bedrock fear, of death, of castration, the nervous person searches for vitality and extension to ward off impotence and death with a "big one" like a muscle car, a militarized gun, a mid-life crisis and a trophy bass, and here a harhar painting to cover fear. You have sublimated your anxiety of death to a painting mocking that fear, but it's still a Mustang against death, a painting equivalent of a truck with nuts, underneath the irony, the wet-eyed naiveté, the fear, the fear.

Calvin Marcus at Clearing

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Marcus paints like a kid, draws like a kid, had huge crayons made for his big kid self. It would be an interesting history correlated, the desublimation of painting, its id-ification, from the surrealist's subconscious, to Pollock's becoming "nature," to finally the triumph of neanderthalism of say Joe Bradley, the history of men's important doodle. The mythology of the infantilized artist. Expressions of nubility, We must care for him, them, genius whose diapers we exchange.

Calvin Marcus, Chadwick Rantanen at Clearing

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Ranaten's objects are itchy, irritants in a body desiring to reject them. Ranaten's concern for the commodic waste that comprises much of modern life differs from many in that its cheapness is amplified, overhead lights hanging, made a wedge, shards of waste, fluorescents are gallery expendables, hanging, turns not-yet-trash into splinters of it. The thought of plastic inside you, a blanket in plastic inside you.