Petra Cortright at Team Gallery, Inc

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The art dads who thought artists interacting with youtube was revolutionary are back and they're interested in printing the computer in physical space. "Post-internet art" as become the Kinko's avant garde, all the substrates and inks you can print. The issues for Cortright, and the virtual progeny as whole, seem at odds with the demands of art which - despite all the Lippardian lip service otherwise - requires physical coins to be traded, the friction of so much "post-internet" art struggling to erupt the virtual as unique meat. The PR says as much: "Cortright’s challenge [...] is conveying the distinctly digital navigation of an endlessly evolving visual terrain resistant to a singular final state or form." Everything that makes virtual space unique is lost in order to give you, prospector, something to bite. The "diaphanous textiles" function only a primitive allusion to the high clouds of photoshop, like a cardboard cut out replacing someone famous. Cortright's just straight digitally printed "unique" "paintings" are perhaps a more interesting tensioning of the digi-physical divide in that they don't metaphorize the digital, they just press print and call it painting, asking collectors to believe it.


See too: Petra Cortright at Société

Paul Mpagi Sepuya at Modern Art hosting Team Gallery

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We call this "his exploration of the dynamics of intimacy." But here's the deal, this nudity rarely feels intimate; it is awkward, stiff, bodies look uncomfortable trying to bend a composition. The bodies work for the camera who is the master to be satiated. Which explains their machine-like affection. It's a more Hans-Breder-like photographic attitude, any sympathetic Tillmans-esque is fractured, the body formalized, turned to abstraction, which is a gore, a machine of equivocation, skin becomes fingerprinted glass becomes magazine flesh cut and pasted.  This is ostensibly fun but play and its dalliance gets close to frivolousness, becomes dangerous when you are machine shredding bodies.


See too: “Automatic Door” (Mark McKnight) at Park View / Paul Soto

Andreas Schulze at Team Gallery, Inc

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Ah to spew smoke, to spit smog. Our off-gassing, our hot-air. Your body's continuous pollution, waste, a machine for expenditure. You are net negative on the biosphere.  Like hanging "Everyone Poops" on your wall, things no one wants to be reminded of, Schulze's painting are generally cruel things, stuffed with aggressive lashing. Paintings not really for seating polite company. A lot of art today with its biomorphic and anthropoid rotundity desperate to remind viewers of their bodies but Schulze seems willing to make it painful, reminds us what happens in our more porcelain moments, your exhaust pipe. This is the new moral nature of painting, look at the painter's, the writer's exhaust, self to the wind.


See too: “Ungestalt” at Kunsthalle Basel, Andreas Schulze at Sprüth Magers

Tam Ochiai at Team Gallery, Inc.

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Referential contingency in painting beside itself, the scrawled names of cities lived and died in by famed and nameless, Borges for instance, visited and left, referent diverting from its pictorial ground and thoughts discrepant between denotation and image.
It serving to use its referent in the same sweep that it negates its ability to mean, expended as sign, cashed in for surface effects, a meaningfully meaningless composition making amends with the cutesy carefree whimsy of its strokes, the passing of importance, passing importance.

Brice Dellsperger at Team Gallery



" titled Body Double after Brian De Palma’s psycho-sexual thriller ... . ... thirty video works, ...  tropes [of] cinema. Both reverent and ... voraciously cannibalizes ... digests iconic moments in film. ...arresting, ... affecting and ... cerebral, ... informed by film and queer theory.
"doubling ..., issues of ... replication, ... the duplicative nature of film itself. ... varying degrees of loyalty ... the drag-queen doppelganger of its source: a ... recognizable copy, forthcoming with its artificiality."

 Its the malfunctions, the discrepancies, of the overlay that make them interesting.  Doesn't this make you want to go to the movies. Totally great.