Dominik Sittig at Nagel Draxler Kabinett

(link)

Perhaps both Miller and Sittig were about some radish cures, forcing the child to smoke the whole carton. A "too much" to taste. Sittig's had been so entrenched in their miasma (paintings that approached, but never quite landed on, hyperbolized mud) that no love for paint would save it, they were paintings dying in their own tar pits, unrescuable. But now we get gently rosed children, photographs yellowing. The turn came at least 2 years ago with a press release about Barthes own switch from semiotician to subjectives, his writing to reclaim his passed mother in the photographs of her, Camera Lucida. Which would seem to express a similar sentiment switch here. An attempt to pull and save something from, or in, mud. 

see too: John Miller, Dominik Sittig at Nagel Draxler

John Miller, Dominik Sittig at Nagel Draxler

(link)

The PR would have one believe its difficult apprehending a similarity to these two artists who really both seem to be keepers of the sewer. Miller's are the populist abject to Sittig's paint bile blowouts. Miller's mines the cultural detritus of things we would have sooner forgotten, how awfully the spectacle of game shows has spoiled and molded, Sittig draws out the sewage from the drain of abstraction, and expression gone wrong, both standing in the darkening mire of ugly culture, both about learning to love disgust.


See too: Ida Ekblad at Herald St. , Group Show at David Kordansky