Georgie Nettell at Lars Friedrich

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Both literal and figurative quotes around bullet holes vented into "My Opinion" and "Other People's Opinion" printed in positive+negative which, like the PR so rife with, refusal to designate which is which, pros or cons, advantage or disadvantage, a full spectrum ambivalence to evaluation. Lethargy in violence, bullet holes that sort of look like the assholes of opinions that everyone has, here printed with Cannon's new digital litho replacement Colorwave: "ColorWave 900 large format poster printer has a raw print speed of more than 12,000 square feet per hour and is able to print a run length equivalent to the height of New York City's One World Trade Center in just 30 minutes."  Reprinting someone else's last line: "the near-monochromatic lifelessness of a repackaged and repurposed disobedience."



see too: Georgie Nettell at Reena Spaulings

If you haven’t already, we encourage you to take a look at the three Quarterly archives we have released on Contemporary Art Quarterly: Quarterly come to pass, Quarterly 2, Quarterly 3

You'll find writing about the most recent crop of Quarterly sanctified artists here: Moyra Davey , Lily van der Stokker 

Please consider following our instagram account, @contemporary_art_writing_daily  which probably won't post much of anything at all, but it might, and then you can be up on something if it does.

Erika Vogt at Mary Mary

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A little too big for their own good, the sculptures exhibit the tendencies of the oaf, too present. "Proxemics is the study of human use of space and the effects that population density has on behaviour, communication, and social interaction." There's no space for you here, they put you on the stage of their theater: Vogt's objects all placed on the cusp of Personal distance (Far Phase) "for interactions among good friends or family." "Under circumstances where normal space requirements cannot be met, such as in public transit or elevators, personal space requirements are modified accordingly. According to the psychologist Robert Sommer, one method of dealing with violated personal space is dehumanization. He argues that on the subway, crowded people often imagine those intruding on their personal space as inanimate." And the sculptures you. 

Toy with human scale.


See too:  Erika Vogt at Overduin & Co, , Amanda Ross-Ho at The Pit, Amanda Ross-Ho at The Approach, Mark Handforth at Kayne Griffin Corcoran

Past: Erika Vogt at Overduin & Co.

"Big objects mock us."



Click here to read full Erika Vogt at Overduin & Co.

Kerry James Marshall at MOCA Los Angeles

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Marshall absorbs narrative painting's more modern languages, e.g.: illustration, comics, advertising. Using commercial clarity to sharpen images to iconic while not relinquishing the subtly, slipperiness or open-endedness that the commercial trades for bluntness. Midnight black of KJM's figures slides between transparent ghosts, starkly visible, and shared tone blurring its figures, aptly analogizing the (America's) paradoxical black body: Invisible Man, vivid targets, everyone fitting the description, everywhere and invisible. It would be stupid to call it not painterly, but it lacks the masturbatory juice that the painterly usually entails, far too fastidious, serious even, for that, trading the painterly for the power of an image well constructed, Marshall's wild inventiveness in making paintings that want to be so clearly seen.

“Life & Opinions” at Tanya Leighton

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It seemed for a while that copper was going to replace the buffed aluminum that replaced gold and Koonsian candy-coating as the eye-rollingly ostensibly critically-legitimate wealth-denoter in art, trends toward making the minerals-backing-art-curenncy-trope less obvious, every gallery had at least one artist nailing copper to a wall, techno-circuitry or Detroit detritus, and so interesting to see here the austerity of conceptual art's bureaucratic grey moving too towards texts pre-yellowed, a warm beige, interior design's highest selling color.

Guan Xiao at Kraupa-Tuskany Zeidler

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Of the Post-Harrison/Genzken object-orientated sort, finally able to polish themselves to the sexy level of Malls, toys and product packaging that they mimic.


see too: Rachel Harrison at Kraupa-Tuskany Zeidler