Elizabeth Englander at Theta & Tahnee Lonsdale at Night Gallery

(Theta, Night)

At one end you have the trash reassembling to totem and at the other end the figure shredded into composition. They meet at the same point, our expectations of art, an object as cultural phantasm, cultural picasso. 

Samara Golden at Night Gallery

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If you placed a Daniel Spoerri in a Kusama Infinity Room does it beco- whatever. I can't believe these things haven't exploded as the hot new lobby bait. Museums need a product to fill their atria, search for reflective, and thus inclusive, possibility. Wasn't the artist present also just a mirror? Occasionally leaking goo, guts. Golden is good at mirrors, there's no doubt about that. But maybe the thing about Golden mirrors is they never reflect us, we become vampires before the lobby of art, which is too apt a metaphor for museums.

See too: Attempts to reach out

Anthony Olubunmi Akinbola at Night Gallery

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A title that's compelling because it's honest - materiality, brought to Market, amass enough becomes quality, an aesthetic, of the marketplace. Hoist a table, your wares into space, for sale. Like we ever needed more. Expressionism's paint on a fine tablecloth, now durags. Mike Kelley's chintz glued critique to its cloth, but that was just what we liked then.

Wanda Koop at Night Gallery

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like Jawelnsky's heads, which whose anatomy is just the excuse to hang paint. Gives it a reason, the face arranges the paint, like furniture. 

See too: Heather Guertin at Brennan & Griffin 

Rose Marcus at Night Gallery

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The world is ugly if you don't compose it. Like being forced to actually look at the decor in a Starbucks, like looking out a Starbucks window into this mess. Forced to look through all the glass of the world. Which more and more is covered in corporate design. Like, imagine adding racing stripes to a tropical aquarium. Unlike bad painting, bad photographs are unbearable. The mass of undigested photography sitting on phones, in hard-drives. If it takes a talented photographer to makes the world look beautiful, wouldn't that say a lot about the world?


Modern Gothic. See too: Gili Tal at Cabinet

Derek Fordjour at Night Gallery

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The uniform, the fanfare, the confetti and costumes all covering the brown support. Something doesn't sit quite right with these, no? The rosy glass peered through as a pervasive decorative function, a nostalgia that doesn't quite align? The prep school outfits, the white gloves. The lovely color looked through. Something.

Han Bing at Night Gallery

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Maybe what was so great about Richter's squeegee is proving that abstraction was asinine, it could abused. How maddeningly dumb it could still survive as. These are stated as not abstract since they from photographs of abstraction, and thus "evidence a tenuous balance"of getting cake and eating it, and looking like it, cake, too.

Anne Libby at Night Gallery

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over the course of a career Frank Gehry made some fish and they are pretty much horrible. Kitschy blundgeoned ham handeries of what would be the shimmering skins of architectural circusry. They are completely obvious in a way that is painful, reducing nature to a mimickry of its lithe body for future extraction.  Libby's shimmering scales seem to gravitate towards this middle state of architectural decorum, a scales that could be placed over the whole, a fragment waiting to be multiplied, capitalized on.

“Paris De Noche” at Night Gallery

Andrei Koschmieder, Pentti Monkkonen, Amy Yao

(“Paris De Noche” at Night Gallery)

In a sense you don’t want to fault these three for making such perfect lozenges of product/commodities, because 1; they all really look great, and 2; to do so, would require faulting every painting ever made for its perfect commodic form: painting's content valuable for the support on which it rests, the sexy container. Similar to Seth Price for whom the packaging was the product and Dispersion as content, the three here take to crafting the package itself, in re-making the support as a form: ladders as frames, trucks as canvas, and corrugated metal as painting; each a product inseparable from its package whose functional content remain to be seen.

See too Pentti Monkkonen at High Art , Andrei Koschmieder at Real Fine Arts