Thursday, June 28, 2018

Zak Kitnick at Ribordy Contemporary


in line of Sears' full history and its intersection with Kitnick's own, for the then pouring into the Jello molds here which will contain it like good art objects as retainers for stories, no longer looking at the art but the little vacuous middle distance of. Objects don't exist anymore is the point, we have post-Marxed them to oblivion with fetishization into names as placeholders: at the end "Craftsmen" was merely an object containing all the distant echoes of its storied history of quality to coast on as its final form as junk wringing out this nostalgia as cash pyres (the story of many brands narrative arch from triumph to trash, Schwinn, Smith & Hawken, et al.) - which seems, Kitnick ever the melancholic, the point, "the highest score for both 'Brand Expectations' and 'Trust'" is more capitalistically leverageable than any use-value or beauty that these artworks portray themselves not as having but ostensibly able for you to take home and create yourself, again trading the ghosts - here the history as press release - we survive on, to do it yourself pal. Defeatist or just powerfully unhappy is what is at stake.

see too: Kyle Thurman and Zak Kitnick at Parapet Real HumansZak Kitnick at Clearing