N. Dash at Casey Kaplan

(link)

These are bit more compositionalized, more arty, but at base they are still the butterflies, material, pinned behind glass, catalogs of physical sensations you see but cannot touch. Materiality porn. "...a very modern problem, our world, mediated by screens, the totality of which becomes enshrined in gallery or touch screen glass, and art is the world's development project in all the ways to [build] a materiality so strong it visually empaths itself, that we could actually feel something through glass.""[these,] images, unable to be tactile, to make sensuality palpable irrupts strange fetishes: pornography must materialize its sensitivities by finding visual equivalents for touch. " "Bodies that photograph well." "Our touch, now more than ever, comes from sight, comes from packages of it in the high definition of images and advertising, we feel through sight"


Olga Balema at High Art (2) Olga Balema at High Art (1) Olga Balema at Bridget Donahue, Daniel Lefcourt at Blum & Poe, ektor garcia at Cooper Cole, N. Dash at Casey Kaplan

Judith Eisler at Casey Kaplan

(link)

A critique toward the pre-loading your brush with content, forcing its representing the priorly ordained, would seem unfair against today's every other painter evacuating it - though Richter and Tuymans bleeding out of their images content despite it, might provide the real answer to content re-presentation. And the PR's dance around the issue of this recycling - can't you just wait for a writer to invoke Hito Steyrl's "In Defense of the Poor Image" about these - instead rams that the point is the paint, whether to ward off any conceptual jabber or maybe bait it in review hard to tell. "Eisler questions whether light is a substance or a process." which weirdly enough is exactly a Quora question you can read click here. A weird worry that art is asking questions that science is answering. Which maybe is why we're asked to look instead at the paint that culture values in these.


See too: Luc Tuymans at David Zwirner

Jason Dodge at Casey Kaplan

(link)

The wild and intractable world of stuff, everywhere stuff, like an oil's irridescence expanding over the land. Accumulating like eye goo, gathering as the city is asleep in its corners, basements, entryways. The PR urging us to imagine of the amount of computer cables currently aloft in airplane compartments, heavenly aspirations before their eventual burial in mass graves, landfills, cross sections whose bedrock supports hills of garbage our children will throw balls upon.
Stuff must continually be wiped away, its piles building continuously. Several thousand factories are right now generating more, new, stuff, moved on conveyers and stored en mass in warehouses. We understand this staggering mass implicitly now. We briefly got mad at plastic straws, though the majority of ocean trash is fishing gear, 46% by mass is fishing nets alone, strangling an estimated 100,000 marine creatures a year. We no longer need only acrobats or doctors to sleep on them to make our pillows interesting, our stuff itself has become a pathologically gratifying, artistically developing under an abusive household of stuff emerge in maturity to express "material issues," fetishists gratified spreading its pain.


stuff stuff fetish stuff: Chadwick Rantanen at Essex Street,  Nancy Lupo at Antenna Space, “May the Bridges I Burn Light the Way” at STANDARD (OSLO) Kahlil Robert Irving at Callicoon Fine Arts, Melvin Edwards at Daniel Buchholz, CAWD on Fetish, Nancy Lupo at Kristina Kite & Yuji Agematsu at Miguel Abreu, Dylan Spaysky at Clifton Benevento, Chadwick Rantanen at Secession, Yuji Agematsu at Real Fine Arts,  Yuji Agematsu at Artspeak, Pamela Rosenkranz at Karma International

N. Dash at Casey Kaplan

(link)

Like cabinets of curiosities collecting various exotic tokens displayed for enlightened society's pleasure, N. Dash's material deployments like swatches of touch are the anthropological remains of our dissolving physical world, distributed like catalogs of our once sensual pleasure over digital networks, "The Kunstkammer conveyed symbolically the patron's control of the world through its indoor, microscopic reproduction" but no one is that hubristic today, these are about the loss of that, mourning it, our desire to once again touch things again, like all those salvaged wood paneled Brooklyn bars so apt for Tinder dates.


See too: Daniel Lefcourt at Blum & Poe, Tony Conrad's Glass

Matthew Brannon at Casey Kaplan

(link)

Midcentury graphic design made as stifling as the era's social mores, Brannon's cleanliness hasn't ever felt nice so much as overbearing hypochondria. Cleanliness becomes the expression of repression, and the clinicalness of printmaking anality becomes suffocating, even the friendly ones seem without air, ketchup like terror, nostalgia cleansed till the skin dries, cracks, and bleeds.