Tuesday, November 12, 2019

Sarah Ortmeyer at Chicago Manual of Style


Writing about blank art you are confronted with the theater of your skull, your dome's skeletal movie screen. Eyes phosphene in darkness, in vacuity your mind alights. It's called "prisoner's cinema," a useful term for art. Blankness rewards the already full mind, handing the viewer back to themselves, allowing all the self-satisfied self-congratulations they can self-muster. The philistine sees checkers; the learned, chess; the PR wonders about the things that aren't there, and the aesthete, Sherrie Levine, Rosalind Krauss's Grid, the whole history of Modernism to fill whatever text space allowed: art abhors vacuum. The tension here: whether this beacon actually broadcasts idea or simply clears space for fill, me, this, now.

See too: Sarah Ortmeyer at BodegaSarah Ortmeyer at Potts“Seven Reeds” at Overduin & Co.Kaspar Müller at Museum im BellparkYngve Holen at Fine Arts, SydneyYngve Holen at Kunsthalle BaselYngve Holen at Modern ArtDavid Lieske at MUMOKYngve Holen at Modern Art
Past: Sarah Ortmeyer at Bodega, Sarah Ortmeyer at Potts

"...a more mythologic subject, a cultural signifier to whom our attraction is unbounded, orbiting a celestial beauty, a man of so much public weight it begins to accrete its own egg-like shell, his image..." An egg.

Click: Sarah Ortmeyer at Bodega, Sarah Ortmeyer at Potts

Past: Diamond Stingily

"and how did natural black hair become a 9 billion dollar industry so profoundly contentious it led Chris Rock to make a documentary about the subject with a Rotten Tomatoes 95% approval rating after his daughter at three asked why her natural hair wasn't "good?" Disneyfication, conforming a subject to dominant culture's preexisting expectations of how that object should be, making for a lot of unnecessary and uncomfortable changes." "...forever ambiguous until looked upon which like the quantum cat's vitals inside a box, a physical attribute achieves a superposition in culture, a sort of walking contradiction as a symbol of power at the same time it leaves open the wound for the bitter slight, Becky with the good hair.'"

Diamond Stingily at Queer ThoughtsDiamond Stingily at Freedman FitzpatrickDiamond Stingily at Wattis

Monday, November 11, 2019

Karin Sander at Hussenot


"canvases in standard formats that Karin Sander leaves at a selected location for a limited, defined period of time. They absorb and reproduce the specific patina of this location."

Conceptual art was obviously the roots of our the Living-Dead Formalism, the instructions lending credence to inoffensive abstraction. Weren't conceptual art's instructions just a means of self-mythologizing? Why does art cycle itself? Shouldn't we learn.

See too:  Karin Sander at Barbara Gross, Olivier Mosset, Karin Sander at lange + pult

Past: Puppies Puppies

"Like oral traditions whose stories allowed modification to fit the moment’s ethos, PP’s public domaining of intellectual properties proposes the, e.g., Chiquita banana as open source material. [...]  pre-established content for its storytelling, inhabiting the corporate/commercial sign systems that have come to determine our world. Harry Potter is the new Iliad for better or worse...."

"Behind a hostage of the forcibly public-domained. You get to disappear behind others'. A system of drag (drag as corporeal parasitization, cosplay) but too the dirty and cruel world of bodies forced to adopt the identity and means of the larger cultural empire that oversees it, i.e. Adorno’s conform or perish."

Read full: Puppies Puppies (Jade Kuriki Olivo) at Balice HertlingPuppies Puppies at What Pipeline, Puppies Puppies at BFA Boatos

Saturday, November 9, 2019

Past: 186f Kepler

"2015, 186f Kepler releases press stating the liquidation of informational categories as more closely resembling the aqueous system of art, and it’s true, the Field of Cultural Production now looks less like the rigid markets of symbolic goods and more like social systems of pedigree in which, as predicted by Deleuze, the postscript on society’s controls turns institutional interiors into dispersed system of self-policing and production, in which there no longer is an outside to market, your existence itself becomes the system of circulation for circles and scenes, seeking the endlessly theorized “network” of social capital. And here having CAD as your sandbox to immediately sediment your activity with visibility, you can do as little or much as desired, with enough accredited names attached you’ve got CAD to market your dispersion for you, your becoming “of interest” simply by having been listed. 186f Kepler does in fact mirror and perform the social mechanism in which liquidation isn’t so much “escape” as marketing..."

Friday, November 8, 2019

Glenn Sorensen at Corvi-Mora


The oil continues ink spread, like dipped in it. Continue into the night, where the world fractures into shadows and shards. It is frustrating that writing about the night always sounds poetic since Sorensen's seem to have done away with anything melliferous, instead something tasting more like nickel. I think it's the green, the color of late-night television thrown onto bad carpet. It is science fiction lighting. Ominous green. Feel like seeing something, then seeing nothing.

See too: Glenn Sorensen at Annet Gelink
Past: Glenn Sorensen at Annet Gelink

"Got to give Jennifer Higgie Credit for calling Sorensen 'post-industrial Monets.' If the impressionists commented on the particularity of French light, Sorensen maybe on the particular liquidness of lighted night, ... unnatural abruptness that shorts rods and cones into afterimages, emergency light, disorientated to something representational that feels abstract."

Full: Glenn Sorensen at Annet Gelink

Thursday, November 7, 2019

Sayre Gomez at François Ghebaly


Here the cage bars become less literal. Fencing dissipates into the photographic techniques, a picture's non-focus is a frosted glass wall. A fake palm cell tower, a strip-mall sign: the impediment to a sunset. Homeless encampments censored against full identification. Gomez, is Hollywood's landscape painter with a sigh, using the techniques of tinseltown's advertorial golden era, the quick seduction of airbrushed leg landscapes. But instead of vistas we get cellphone towers. Only the grisly crust gets Gomez's full HD defect.  The stupid vile blackness of an Enterprise car rental sign to match Reinhardt's own. Whether this throwing in your face shit is stupidly cruel or realistic is your personal preference. "But I painted the banality so accurately!" cries the painter of life. "A mimesis so exact it enacts the drear it represents!" Call it antidote to the naive who think Hollywood is the nice part of LA, medicine to those who have never actually stood at Hollywood and Vine, walked that one block south of the restaurants in downtown. Someday this will all be yours, someday this will all be gentrified. Gomez at whim is able to flick his vaseline seduction on or, more powerfully, shut it off. This makes him coy. A gamesman. The paintings giveth and the paintings taketh, Gomez with his fingers. Yes, think Ed Ruchsa, but now words obscuring the view are attached to sign-poles, very realistic, yes, literal, yes. Literalness in all its stupidity is given in all seriousness its hard dullness.

See too: Andrei Koschmieder at Jenny’sSayre Gomez at Ghebaly Gallery
Past: Sayre Gomez at Ghebaly Gallery

...when you could simply change the focus to what's outside. Instead some vague construction. The old predicament of art, to peel away the stickers marking the surface of cynicism. [Painting] elegiac Walls. All of this is obvious, it's right there, legible; the point is that it’s alluring. We want to keep the walls around.

Read full: Sayre Gomez at Ghebaly Gallery

Wednesday, November 6, 2019

“Plains Ledger Drawings” at STANDARD (OSLO)


The perspectival ambiguity of the homes/tents/forts aligning around the edge of the paper which acts as edge of its world, like a fisheye lens for god, turn the paper any orientation and this was still the center of the world. And look at that soldier's leg, the soldiers falling back akimbo, while the guy on the horse is central, static, strong, as if the rider doesn't move, as if the world moves around him. The tension between pictographs, information and depiction, stories to tell.

*Of course though painful that while these are traded under ironically white lighting, the US's native populations are still among its most vulnerable people.

See too: Purvis Young at James Fuentes

Tuesday, November 5, 2019

Maren Hassinger at Tiwani Contemporary


Accumulate as ward against scarcity; arrange as ward against death. Identifying with the cast-off and detritus, seeing society waste and want not. Art which can express that lesser form of aesthetic judgement, compassion.

Minimalism's infatuation for the industrial process, of say Judd et al, was, in part, premised on these industrial processes deletion of the body and its "expression" (if not a promise of subjectivity excised entirely) in looking "pure," like objectivity, removing the human. ... Of course this was the lie of any commodity: that the clean aluminum sheets comprising boxes or laptops weren't simply wiped of their indentured sweat. Minimalism hid the body in the closet.

The hoarder artist re-stake the essential hand-care, human, blood, to what is considered by at best by most simply material. Treat waste with compassion.

Read: Melvin Edwards at Daniel BuchholzLutz Bacher at Galerie Buchholz and Sarah Rapson at Essex StreetSer Serpas at LUMA WestbauYuji Agematsu at LuluDylan Spaysky at Good WeatherDylan Spaysky at Clifton Benevento,

Monday, November 4, 2019

Hanne Darboven at Sprüth Magers


Proposal: A series of videos of artists and curators explaining Hanne Darboven to their dad.

Sunday, November 3, 2019

Past: Gili Tal

"... if the photos are by no means good, would it not be fault of the world they capture? It is your city that is ugly, and you should be forced to buy one of these as reminder that your castle not separate from. This mindset allowed for the suburbs, its devolution into ugliness, people moved in personalized containers, personal vehicles in trajectories to their big boxes sheltered, their home, their work, moved in submarines of personalized climate, protected in white walled towers. Curtains are a weak force against the world that these posit perhaps someday someone will invent something to break glass, and the world will flood in."

"The more pathetic and depressing aspects of commerce's reign are mirrored in Tal's reconstructions of it, like those half empty coolers, a lightness mimicking advertising's own getting closer to grim comedy alongside a press release from hell once again reminding us all of our relegation to capitalistic damnation..."

read full: Gili Tal at Jenny’sGili Tal at Cabinet

Saturday, November 2, 2019

Katinka Bock at Pivô


Installation art seems made for its own Rube Goldbergifition, attachments and strings, pulleys and hangings: the appliances for hanging become the art objects themselves. Why do we like Rube Goldberg machines and their absurdification of the device. Is it comedy? The world rendered caricature? There is an undercurrent of nihilism, of angst and cynicism toward technology, neutering mechanical complexity as childlike confabulation. An angst or nihilism that subtly pervades Bock's work. As the PR says, Bock "‘profanes’" the exhibition space, contorted into subtly absurd gestures. "Katinka Bock chose Avalanche as the title of an exhibition in a country where it never snows but which is on the verge of collapse, like so many others."  The exhibition, its context, Sao Paulo, the art, its function, is made into cartoon, a fantastical contraption, a comedy device replacing actuality, a fantasy which is easier to deal with.
Past: Sara Deraedt

"Vacuums look like Star Wars droids, a technology not sleek but fantasy mechanical. The term 'greeble' was invented for Star Wars' scene builders to describe the false detailing added to increase surfaces visual complexity, to thus exoticize if not heighten the inferred technology. Vacuums are a tube that sucks and yet their encasements evolve all sorts of sleek sexual-mechanical curves and corners. A shell that infers the inner without much referring to it. The casing isn't designed for the object inside but for person deciding upon it, obviously."

Click: Sara Deraedt at Essex Street

Friday, November 1, 2019

Sturtevant at Freedman Fitzpatrick


While the paintings/drawing provided question of what exactly was being looked at, (How did Hainley put it? What remains of a cancellation?) as occlusion of what was Sturtevant. Against this blindness, cancellation, or hole, after her tennis break she returned with a visual maximalism that was so incredibly alluring. Recall seeing the inverted video pyramid at Gavin Brown - throbbing soundtrack lead in - and, mesmerized, watching the entire length of the video several times. What other art film has done that? Creating a gluttony, a casual technical lucidity that made them so consumable, a sugar image. They invoke an amnesia, the feeling of watching television as children, hours passing. Wake up to find yourself having been entranced by a void.
Past: Sturtevant at Air de Paris

"Dynamo for so much of the 1960s art world, Oldenburg was also, at times appallingly, no cartoon. (Séance Hannah Wilke.) Did an artist with such psycho-aesthetic investment in the invagination of commercial space ever stop to consider what might happen if, courtesy of a wildly inverting repetition, the phantasmatic derangements of capitalism or branding embroiled in his concession shoppe and its merging of philosophical and commercial notions re-rendezvoused to, vagina dentata-like, bite him in the ass?" - Bruce Hainley, Under the Sign of [sic]

"Literalness in Sturtevant's work is always a sword's doubled edge, a trap  - that many fell into seen in early writing on the artist - literalness was staged obviousness acting as a foreground which blinded with its hamfistedness. The dark thing next to the bright light. "

Sturtevant at Air de ParisSturtevant at MoMASturtevant at Thaddaeus Ropac,

Thursday, October 31, 2019

Alexandre Singh at Metro Pictures


An "imagined dystopic future." Says every press release today. Dystopia ripples through the artworld with the Gothic, occasionally hand in hand. Though Singh has been invested in Dystopia for some time - you may recall 2008's "Hello Meth lab in the Sun" - which now does feel very 2008 doesn't it. (Breaking Bad and antagonism to relational times.) This was then at the waning moments of the US's 8 years of George W. Bush. We were only hearing about Hope then. "Dystopia" spikes in Google Search Trends in 2005 (a video game released under the name) and, well, January 2016, correlating with another shifting US Presidential epoch. Why were we searching for Dystopias if we hand one on our hands? Why do horror themes correlate to each age's neurosis; Nuclear fears: Godzilla; Climate Change: environmental cataclysm films. Latest research on dreams says we perform in sleep to practice duress, invent the situation to imagine our performance. Our anxieties are given the fantasy of horror, dystopia, to watch and say, surely it won't be that bad, make them feel like fantasy.

See too: Andrei Koschmieder at Jenny’s
Past: Liz Craft

"could wish our communicado could find space for ethereal content, walls to text become brick to evoke a feeling rather than language, emoji mise-en-scene."

Liz Craft at Real Fine ArtsLiz Craft at Jenny’s

Wednesday, October 30, 2019

Paul Gondry, KAYA at Deborah Schamoni Paul Gondry


By Gwynne Hogan | October 21, 2016 1:24pm
EAST WILLIAMSBURG — The artist son of "Eternal Sunshine of the Spotless Mind" director Michel Gondry was questioned by NYPD hate-crime investigators after he hung a dummy from a tree on the same block where the film was shot — in what some neighbors considered a disturbing reference to lynching.

The dummy slung up by Paul Gondry, 25, Wednesday outside his Orient Avenue home was an effort to  "create some weirdness" in the days before Halloween, he said.

"I don't want it to be seen as a hate thing, it's not," said Gondry, 25, who was featured in three of his father's films, according to his IMDB page.

The artist's creation was the second effigy found hanging from a neighborhood tree in several weeks, though Gondry is not claiming credit for the first.

Following a DNAinfo report about the second dummy, police notified hate-crime investigators, who were looking into it, according to Deputy Inspector William Gardner of Williamsburg's 90th Precinct.

Paul Gondry, son of director Michel Gondry, didn't intend the hanging puppet to be a racist, he said. Gondry said he hoped his dummy — which had its head covered in cloth and its arms tied behind its back — would add to the suspenseful build-up to Halloween.

Because the dummy had a cloth around its head, police thought it might have been targeting Muslims in the neighborhood, Gondry said they told him during questioning. But the son of the Oscar winner had chosen the cloth for another reason.

"It was supposed to be more like a medieval peasant. The world we live in is reminiscent of medieval times," he said, pointing to the city's record homeless population. He hoped to "bring that back into an urban context," he said.

Gondry, who said he was "really into puppets," had some second thoughts about hanging the dummy, though he wasn't totally sorry he'd done it.

"I think I would do hanging clowns if I were to do it [again]," he said, adding, "It's always cool to create a bit of polemic."

Gondry added that there were "no Halloween decorations in the neighborhood. It's weird."

"I wouldn't go to Bed-Stuy and do it," said Gondry, who's lived on the block for seven years. "It's my own house."

Hate-crime investigators will determine whether or not to press charges against Gondry, police said.

The first dummy was found strung up around the corner, on Kingsland Avenue in front of the Cooper Park Houses, at the end of September, unnerving residents who called it a "spiteful symbol of lynching."
Past: Kerstin BrätschKAYA

"Genzken the most influential living artist not because everything looks like it, but because it predicated a conglomerate speed absorbing any last vestiges of particular attention to individuated objects. And whereas others used this to produce "series," Genzken extrapolated, used this as a means of acceleration in which speed and production was the communication, amassing product and centering production as the point. That the production of itself became the product."

Adam Kleinman in TZK: "as many artists have learned to feed this desire with work made quickly, but with enough conceptual acrobatics to make them acceptable as part of a canon of their own oeuvre—or that of a supposed canon on the critique of modernity. And here, the artist has found a way not only to maximize the circulation of his/her work, but also to reduce the budget in terms of both time and materials—the original shady business of “skimming”, although one that is justifiable considering the low rate of artist fee’s. Within this particular loop, a potential critique of excess is ensnared as another symptom of that very excess. And it is with this dual farce of today’s production and related branding activities, namely the desire for the curator to collect and justify an artistic industry of prefab and ready-at-hand esoterics, that one should enjoy DAS INSTITUT’s irreverent something for everybody with a little for everyone approach."

"WHO says by 2020 depression will be the second most prevalent medical condition in the world. Rats pleasure themselves to death. ...use of beauty as a deployable assaultive thing, prolific- likely what critics refers to as the artist's "advertising strategies" - exhausting..."

Click here Kerstin Brätsch at Gio Marconi
Click here DAS INSTITÜT at Serpentine Gallery
Click here KAYA at Deborah Schamoni
Click here Kerstin Brätsch at Gavin Brown

Tuesday, October 29, 2019

Tess Jaray at Exile


 The history of western modernism is one of secularization, no longer higher powers commanding but instead argued for in manifestos, the age of critics who proclaimed the usefulness of aesthetics (or anti-aesthetics) in a society increasingly industrialized and pressurized to extract value from everything, including art, and putting Greenberg on tirade, espousing the paradoxical function of an art ostensibly for only  art's sake. The critic pokes the painting, saying "C'mon. Do something." The need for painting to "function" so sublimates into art that it becomes naturalized, becomes necessary. (Even art that is destructive, anti-, or wanton is recouped and given function by its "criticality," by saying things like its "opposition to dominant order." Immediately closed back into.) But so, precursor to Toma Abts, painting as configurations, organized. We like organized paintings, because organization implies meaning, a function, a higher order. We like function, a use. A well constructed painting like a chair begins to feel functional, a painting like a Swiss army knife, capable of many situations.

Past: Than Hussein Clark

"Staged theatrically, their vacancy becomes strength, hollowness holding a surface for eyes to move and containing whatever importance the narrative can attribute it, like a beautifully feathered bird you are required to know nothing about, or a Tahitian landscape unencumbered by syphilitic artists, a tie-dyed Heimo Zobernig.  Like Sci-fi as excuse to CGI a lot of shiny things, theater to reimagine some neo-Memphis-group for Petra von Kant."

"so the context, under new light, grow baroque, wilt new leafs, gilt themselves in preparation for their spotlighting, put little balls on their feet, weight their connection to it, the theater."

"Turning the house topsy-turvy, the curatorial address of throwing it all in and letting god sort 'em out with song and dance."

Monday, October 28, 2019

Dominique Gonzalez-Foerster at Century Pictures


Reading a book in a commercial art gallery was a torture device invented for the late Medieval Era. A sort of mental flog, a public humiliation. The point being, you're not supposed to read the books. It is a show library. Like, you can call Strand bookstore and order a library by the foot, you can specify "classics," "law library," or spine color. You can reverse engineer this. What do the collected titles reveal about the impetus catalyzing it. You peruse a person's library to triangulate a subject, denote their reader, here an artist, an ostensible brandishing of an intellectual pedigree. A lot of people fake it; it's a form itself.

Sunday, October 27, 2019

Group Show at Meyer Kainer


In which object becomes notes of music to showcase the gallery that coronates them.

Saturday, October 26, 2019

Past: K.r.m. Mooney

"apart from its decorative function, the "setting" of jewelry is key, the holding of an object, the micro-fetish of attachmenting objects presented and the problem of material convergence, of which Money is all about...."

"Cady Noland's handcuffs were jewelry for metallized wrists, about how we attach people to a world. A pearl sets off the clavicle.... In the other room copper bite plates allow you an orthodontics to  wear the institutions like bling: the white walled architecture clenched to your teeth like a grill. Some of Paul Wall's grills cost $30,000 but these walls cost more."

Friday, October 25, 2019

Oscar Murillo at Carlos/Ishikawa


There's never been anything particularly subtle about Murillo's work. It's hulking metaphors writ in barn door sizes. A grandiosity that shadows whatever the work is "about," allowing a fleetingness, an evasiveness. Let's ask 12 people what Murillo's work is "about." What does a painting that says "Leche" mean? Or "coconut water"? "Maiz." "Yoga." The words function like fish hooks: something perhaps about class, but necessarily what about class. A few more in in this exhibition: Dirty bundles of bread and concrete. Black Vultures eating the black carcass of a black dog hidden under black tarp. Peformance, another tarp covering a body on the street shown in headlights is painted on by the artist. The arrows are huge, blinking, blinding, cover for what you want it to be about aboutness.

Thursday, October 24, 2019

David Ostrowski at Sundogs


Ostrowski had originally come up by returning the Krebberian moment to its Barre roots. Fay aersols perfumed on blank canvases. They looked a little crustier, which was nice on the iPhones they were mostly transacted on, this was the life of them. They looked real like reclaimed wood. And now Ostrowski continues this painting as excuse for stains, an interest in, say, the way say walls accumulate graffiti, Ostrowski's accumulate painting. Why do we like this. Because it doesn't look like "Painting." It coopts that vernacular hand you find on subway walls and alleyways. The grime accumulating in Parisian corners is not cloying the way painting is, with an artist attempting to woo, and thus its, the grime's, more sunset moments feel unsullied, natural. Remember all those Gedi Sibony stolen freight doors? Sibony simply lifted the vernacular. Which seems to be what is pressured out and deployed here. The owls are arbitrary (Ostrowski says as much), that's important to the realness, to grime, to sunsets.

"The small pleasure of [...] found paintings is their modernist uncanny... That those uncaring, underpaid to blot out corporate logos for truck's resale, might - through dumb luck or undiscovered brilliance - have painted something fine. Their unartful reason a pleasantly fresh breeze of non-art. [...] That brushstrokes without art intention always look best, and these just made to cover, to stop beer from selling itself, so painting could."

Read: Gedi Sibony at The Arsenale

Past: Lin May Saeed

"Lin May Saeed likes animals, and communicates that by making art depicting animals. Its forthrightness would seem naive if it weren't so endearing, handing it right to you to care for its fragility... the sign intertwined with its loss

"Animals in environments degraded by plastics, EPS, Styrofoam. We with some idea rolling around in our heads about how long these foams last, largely abstract, largely uncertain, a million or a mere ten thousand, years, the foam will persist longer than paintings. But, in the presence of light it very quickly experiences photodegradation breaking down into a powdery substance that will chemically persist in the lungs and bloodstream of animals moving up the food chain.  Sculptures which if improperly cared for become time bombs of their environmental toxicity, be careful with them, leaching chemical into the fish they depict carefully, a preciousness we must protect.

"Making art that expresses care for animals by carving it in material that - if left uncared for - would quickly degrade and release poisons to harm those animals depicted is sort like selling live grenades in a puppy shelter. Why not take a grenade home, why not take back some of this asbestos to protect the earth if not your home, these animals need you. Sort of expressing the suicide games pretty much everyone believes we're playing now in the anthropocene's foot-to-the-pedal towards brick walls type of time period."

Full: Lin May Saeed at Jacky StrenzLin May Saeed at Studio VoltaireLin May Saeed at Lulu
Past: Max Brand

"If you rolled a piece of silly putty across the newspaper of Painting's history, you'd have Brand. everything adolescent, sticky."

"Seeing the soup for its referents and judging hazy memories of once distinct tastes roiling in the surface. so clarified as to not single out any one flavor, any one referent, everything so blended, you could just keep naming ingredients. Which is where we're at today. Soup is easy to mass produce: a base prepared in advance can be used to a support a wide and readily available ingredients on its surface."

Full read: Max Brand at Off Vendome, Max Brand at Galerie Bernhard

Wednesday, October 23, 2019

Judy Chicago at Jeffrey Deitch


At one point in our history, Anne Truitt's color on sculpture had Donald Judd railing. It is important to remember that for many years Judy Chicago's work wasn't taken seriously because it specifically affected associations (rightly or wrongly) with the feminine, or what wasn't serious high-cultural affect. There should be a history of these affects we don't allow to speak. Even if we let them in late, we should have a list of the things that were unacceptable then. And a list of what deemed acceptable, why.


The question of how could CAD expand yet retain the power of its single panoptic window, its Borgesian aleph.

The question is, does adding more towers, more bastions to the territory further legitimate the eyes. Ostensibly the reflection should be more complete. But somehow this ruptures the myth: CAD sees all things through the panopticon's prisoners, us, remaining uncertain whether/when they are being viewed, manifesting a permanent suspicion for the surveillance, artists seen, manifesting sympathy to the system, its code, aesthetics, a guilt under omniscient god. This is, humbly, CAD, a stand in for the system itself. The funny fabrication is that there weren't contributors before. But now the eyes in the Forrest will bear names, and while they always did, we've entered this distinct land labeled "curation."

CAD harbored power through the - however distant - implication of providing a true full survey. While this was not the case, CAD was closest thing to, providing a, however warbled, singular reflection for everyone to latch like curmudgeonly barnacles upon. (I can think of no other image blog placed on CVs as "press.") And so too the warbles and hotspots in CADs mirror became charming if glaring. (I know of at least one collector whose entire collection is itself a representation of this CAD mirror.) A large and uncanny mirror was something we had deep down hoped for, to see ourselves reflected back in. A large glaring mirror that was ultimately unfortunately usurped by the atomization of mirrors into our hands and instagram as the new form of glass, etc. a new glass further catalyzing capital's individuation and fracturing the social mythos and accelerating postmodernity's collapsing of grand narrative, that CAD, for a brief minute, relit, CAD, arguably even unconsciously lit itself on this desire for this myth of narrative, progress, of even just keeping record. It was the biggest, shiniest glass.

This now transformation into a tentacled curatorial being exchanges its myth of linearity for curations construction of individualized "voice." No longer attempting consolidation of an "artworld" (however arrogant) but instead giving curators a chance to attempt their opposite, build their names "voices" for their vision. Again however flawed or doomed a singularized vision is, it stands out amongst the massive fractalization of pretty much everything else. CAD was reliably two shows daily, Sunday only one. 8 years ago that had felt like drowning. Now it is a welcome relief against further orgiastic image hydrants, put your lips toward. And it is noteworthy that these new curatorial names come with CV attached, "Tenzing Barshee is an..." "Erin Christovale is the..." Interesting because CAD arosen without credential, for whatever reason we gave attention.

Questions for your bookclub:
1.While Clement Greenberg ushered and reigned in an era dominated by chauvinist white language, could CAD be said to herald an era where no language exists, is instead negated by the sheer multiplicity of image, "given over to the visibility apparatus itself"?

2. Are Curators generally attempting to survey the field, or they are instead creating their own individualized territory or "voice"?

3. Is CAWD always a bit of a spoof of that clean white subjectivity-less authority?

4. Does CAD risk fracturing? After how many spigots? In the deluge, can more ever be a solution?

5. Would then the ultimate solution be a map as large as the territory is big?

6. Does CAWD place an inordinate amount of capital and importance in CAD? Is this a symptom of Stockholm Syndrome?

7. Since those with pedigree and institutional accreditation are the only players with power to legitimize and make visible, shouldn't we be paying attention to this pedigree, to those with this coronation anyway? Wasn't that CAD's great insight?

8. Why could CAD becoming over 10 years the major holding of artworld documentation and de facto bearer of the mirror without any previous pedigree be an important distinction?
Past: Ramaya Tegegne at VIS

"the little territories as blanket of wares meaning Artistic Turf that Tegegne attempts to keep frayed with discombobulated exhibitions of historical process's detritus, found appropriated and reproduced, as palliative against, or occasionally with, art's boxification..."

full: Ramaya Tegegne at VIS
Past: Judy Chicago at Jessica Silverman

As ambiguous abstraction and bio-innuendo makes a stunning return to art, it would make sense Chicago comes with.

Tuesday, October 22, 2019

Mai-Thu Perret at Barbara Weiss


At what point is it an "archaeology of modernism" "about its vanished, unredeemed visions" and at what point is it recasting its forms in more precious materials, as designer souvenirs of that history? Kobro is deeply underrepresented, sure. I've got t-shirts for sale:
Past: Michael E. Smith

"A google search says no one has used to word tumor in any online writing about Smith. Which seems odd; his objects seem awfully affected by a lot of lumps, red dots, growths on institution and inflated with resin crusts. Teratomas: the classic hair and teeth of your twin in your tummy. You can google pictures of these, they actually look a lot like Smith's more "bodily" objects. Of growths without cause, find a potato in our eye, the "categorically promiscuous." Things sliding into new subjects like bare knees across asphalt..."

"Threat of bodily violence (a body to become goo as any other) is implicit to art that treats materials as categorically promiscuous (surreal), e.g. if you can put puffer fish under the table's summer sky, inflate them like footballs with whale ears, aren't you as wiling to place skulls at your knees. The disregard for the categorical order is like gore, crushing bodies."

"It's a cliche at this point to say that Smith makes the mundane object estranged. And in a sea of so many surrealists currently operating, less than helpful. Estrangement is today's go-to strategy. Smith's is individuated, each object set off so that we can no longer "know" the sculpture, eroding a complete vision, and opening a distrust. A psychological sliver. We cannot know the object, its relation to other objects is broken, either categorically (there is no category to place the object within, surrealist) or psychologically (the unknown threat). The rocking chair I project from the two elegant bones still in contact with the substrate of the real is not the same as the one in your head. This unknown destabilizing of our ability to conceptualize the objects in equitable terms to exchange with another -both objects and other people - (eroding the material semio-substrate with which our exchange is based) breaching a distrust, is its sinister quality."

"You can never be certain you've seen all the butterflies, their artwork is everywhere."

Click for full: Michael E. Smith at AtlantisMichael E. Smith at 500 Capp Street Foundation, Michael E. Smith at Sculpture Center, Michael E. Smith at Michael Benevento, Michael E. Smith at Zero, Michael E. Smith at Lulu, Michael E. Smith at Susanne Hilberry,
Past: Mai-Thu Perret

"these still feel like the commodes of home catalogs and design-porn magazines. Souvenirs of a high-end experience. predicting the craft object trends. The pottery on everyones shelves, neon signs trending in summer cottages. Perret originally created a narrative of a fictional utopia which "produced" the artworks. All the funnier since the trends that look like hers all premise themselves on the selling of hopeful futures, the crafts we will all already be acclimated to post-apocalypse, raku firing our dreams. Perret eventually got rid of the utopia fiction, and then they became just art, much less utopic.'

Monday, October 21, 2019

Mathis Gasser at Ginerva Gambino


"illustrate his thesis: that the collective unconscious’s anxiety—of the end of capitalism, the end of the world—has emerged in sublimated form as spaceships." Hovering "Big Dumb Objects": "They [Big dumb objects] function as science fiction’s equivalent to a MacGuffin, plot devices which serve to awe the viewer with mystery and intrigue yet bear little to no narrative explanation. The objects we face are visually so striking that they quash further inquiries into their exact raison d’être." The big dumb object, be it tumor or bubble, manifest fear as a physical object so it can be overcome, defeated by the plot. It is an effigy, a device to allow our dream-selves to create a monster that we can see defeated, turned over in hand, felt, and thought.
The big dumb object is painting.
Past: Mathis Gasser

"Like taking sips from a firehose, Gasser's sampling of the deluge of images...using the fountain to make a construct-your-own-adventures storyboard.."

Mathis Gasser at Centre d’édition contemporaine

Saturday, October 19, 2019

Group Show at Balice Hertling Project Space


Prediction, this is what the next 2 years will look like. Rita Ackerman rococo with all the little pointy bits you can muster. Plus fashion. "a series of 32 posters, a collection of objects, a collective mood, a discarded film-set, a ritual ground -and a platform for a community"
Past: Danny McDonald

" belief in the formal beauty of the product, to Harrison’s abuse of their semantic connotation - demolition of meaning - and the cargo-cult pickings arranged as totems: toys now bespeak a Pop-freudian analysis, a culture as its artifacts. the subconscious of culture - a C-3PO with robot tits, an Alien brain tumor, Schwarzenegger slurping a pink dick, the monster made to hold a mirror to itself..."

"semio-space is more and more dominated by cultural IP whose worlds are tightly closed by labyrinthian legal frameworks. What you can and can't do with Barbie on an advertisement is governed by at least 10 pages of legal, and 40 pages of 'best practices.' The mass majority of children learn of good/evil from summer blockbusters more than any Sunday doldrum. This is our culture's totems, gods, rearrange them on poles... converting to hieroglyphics a culture like we weren't already scratching our heads at it. The inkblot was deemed to have little psychologic validity. Yet here we are."

Friday, October 18, 2019

Wilfredo Prieto at Annet Gelink

Whereas these image do well transacting through networks, individuals well conformed to images, the modern philospher stone held in your digitally connected hand for a moment of contemplation as you go about your day.

Kate Newby at Cooper Cole


Detail views. An enforced sight, enforced noticing. An almost moral underpin, asking for sight, a penance in attention.

see too: Kate Newby at Kunsthalle WienKate Newby, Daniel Rios Rodriguez at Nicelle Beauchene

Thursday, October 17, 2019

Past: Pedro Wirz

"We all fear for lumps inside us, unchecked growth, a malignancy, "matter out of place," "the contaminated diversities that proliferate in the dump." Fear of toxins, poisons, heavy metal build-up, of heavy concentrations of micro-plastics in the great Pacific beverage, in parts per million, in tumors, cysts, bio-cucumlative, they add up in sediments in your blood, fat, balls, monuments, these fears into nervous objects, art."

Pedro Wirz at Longtang
Past: Kate Newby

"attention to naturalism, to the brown you may have noticed in stores having enveloped our packaging to stand for its green. .... Like the trend in homes, bars, everyone hauling reclaimed wood by the tonnage deep into the city, mass producing the natural, in attempt to reclaim some authentic experience separate from the glass we touch all day in pocket. But the glass like the gallery can bring us anything, it appears on screen, in white fields, in front of you, your touch of nature, your finger grease smeared on it."

"chipping away at the artistic monument, further granularized to finer and finer pocks and us finally all staring at noise like a church for sensitivity training - commanded to the virtue of noticing.  ... removed all the signs asserting "scenic view ahead."

"... any sufficiently complex sidewalk is indistinguishable from art."

Read full: Kate Newby at Kunsthalle WienKate Newby, Daniel Rios Rodriguez at Nicelle Beauchene

Wednesday, October 16, 2019

Past: Julien Ceccaldi

"It is no coincidence that devotional paintings contain the same figurative depth as a iPad screen..."
"I've never been a Disney Princess, but I have been a corpse."

click here for Julien Ceccaldi at Jenny’sJulien Ceccaldi at LOMEXJulien Ceccaldi at Koelnischer Kunstverein
Past: Anne Collier at The Modern Institute

"'appropriation' post-internet is different indeed, no longer political or even contentious... It was perhaps the youtube era of Supercuts, garnering millions of views, tumblr collections, pinterest boards, the age of aggregators and the lines outside the door for Marclay's Clock, arrangement itself became meaning, content, "appropriation" went full populist. In the absolute deluge of images as the doors of internet opened it made sense for the archivist impulse to popularize, as safety, as people tried to make sense of the mess, of the overstimulation of everything all once, that could be divided arranged, made into little groupings of sense."

Tuesday, October 15, 2019

Latifa Echakhch at Dvir


These occasional perspective oddities, switches to god's eye view. Exchanging the usual viewing experience for a maximum the information. A maximum information which stands in for the viewing itself, a purely fictional realm made for documentation. "Like a cartography on the ground" like god arranging his terrain, the pins on the map arrange the world, only the overseer, the omniscience we crave.

See too: Jessica Vaughn at Martos

Monday, October 14, 2019

Julian Stanczak at Diane Rosenstein


OP art never seemed to get its due. An alter history to Minimalism. To which Op art was anathema, a reliance on our immanent biology instead of grand truth, axiomatic objects, specific objects. Op art was fucked up in comparison. Slippery, psychedelic, subjective. But with the current legitimation of  psychedelia like the neosurrealism before it, we can expect the retroactive rise of its forebears.

Saturday, October 12, 2019

Ben Schumacher at Weiss Falk


Trading one techno for another, all the gloss of server racks, acrylic and glass exchanged for a roughdraft music fest. The success of fail of this artistic gamble, trading laser cut aluminum for cardboard, is placed on whether people cared for your ideas or that your art had looked like a new idea. It is a proposal.

See too: Ben Schumacher at Musee d’art contemporain de Lyon, Ben Schumacher at Bortolami

Daan van Golden at Micheline Szwajcer


Wasn't the promise of van Golden's some eternal nubility, a candy whose wrapper never left it.
A sort of perenniality. Old paintings that don't look it. van Golden died in 2017, but paintings fresh. Wasn't that the promise of art. You physically cannot remove the wrapper.

Thursday, October 10, 2019

Juliana Huxtable at Reena Spaulings


Difficult to write a history of the internet without mentioning its catalyzing a complete restructuring of identity that had been then slow simmering. The early dictum "No one on the internet knows you're a dog" had its counterpart: "No one on the internet doesn't know you're not a dog" and thus the furry. This was a miracle. Be who you were. An immaculate conception the IRL has yet to absorb and thus the Brillo pad friction when it irrupted in. We binged cartoons as Disney children to manifest them later in Goofy costumes, the Saturday morning cartoon education we devoured alongside hyper-processed cereals mapping our internal worlds in the same malleable cartoon goo. The world a cartoon, at least make yourself an artist.

See too: Juliana Huxtable, Carolyn Lazard at Shoot the LobsterEva Fàbregas at Kunstverein MünchenLisa Yuskavage at Contemporary Art Museum St. Louis

Wednesday, October 9, 2019

Since the Venus of Willendorf's tiny talisman, 30 thousand years of humankind's representing fetishizing, totemizing the maternal. Leading today to Yuskavage's ambrosial hazes. The feast of the Vanitas' balanced by looming overripeness. For Yuskavage this balance to its too-sweetness is made through its subtle representational violence against the women depicted, who in attaining this otherworldly ripeness are subject to subtle deformities, missing arms, noses, butts like egg sacs, breasts manipulated by invisible strings, contorted and culled to the desires of a culture. And Everyone wondering whether Nicki's butt is real, furry porn grown from Saturday cartoons given bodies like overinflated water-balloons, and subsections of violent pornography where the maternal is extracted and policed by the programmatic systems of capitalist production, in bondage and milked called human cow - there is a lot proving our cultural relation to maternal is at least a little fraught, and Yuskavage's paintings are a very tasteful representation of that.

Tuesday, October 8, 2019

J. Parker Valentine at Misako & Rosen


Lines, they delineate. So, failing to produce the object, the quasi is given to viewer, an inkblot, a form they construct.  "difficult to articulate" the PR says, becomes painting of a mirage, handing the goo to a viewer left to sort spaghetti formed lines like tea leaves in you all along. Pareidolia.
Past: J. Parker Valentine

"expectations of legibility, depictive of some tip-of-the-tongue subject within a library of means detailing the amorphous thing it circles but fails to produce. There is the lure of subject object, the thing that will at any moment manifest itself in the definitive lines of drawing"

J. Parker Valentine at Juan and Patricia Vergez CollectionJ. Parker Valentine at Park View

Monday, October 7, 2019

Jeanette Mundt at Overduin & Co.


Of gymnasts, the paintings lack their subject's deftness. Motion is given to a square smear. Instead Mundt's exude something permanently flat, dry. A relation to their subject is ambivalent despite their load. Mundt often targets content that is full of juice, yet is left on canvas to fall apart. A gap that reviewers seem unable to fill with their own: Travis Diehl seemed to conjure the process of glaucoma's blindnessTess Edmonson said about the film on which a painting was based: "the gallerist warned me not to watch it"; and Zoë Lescaze aptly called it "ready for viewers and critics to plot their opinions onto her body." Her body of work which fails to deliver on the subject. Failure isn't an interesting painting strategy in 2019 - we did that ten years ago -  but maybe a generous read is that these aren't so much failing as crumpling, like car hitting its subject.
Past: Raúl de Nieves

"Too much decoration... We call it 'gaudy' or 'garish' or 'lurid' or 'vulgar' no longer arranged but vomited in quantity, too much, like the clowns who baroque their face to comical levels, found frightening, a rupture of the socially decorous. Because these are ethnocentric terms, wielding the symbolic violence of 'taste,' and such it is rare museums didactic their greek statuary with 'this greek marble would have actually been caked in makeup, like a whore' preserving both the marble and myth of white antiquity."

read full: Raúl de Nieves at Freedman Fitzpatrick

Sunday, October 6, 2019

Shimon Minamikawa at Lulu Annex


"fraught tradition of painting and repetition. One thinks of everything from Morandi’s heartbreakingly beautiful depictions of vases and bottles to On Kawara’s dry, no frills paintings of dates. The German painter Peter Dreher’s commitment to painting the same exact drinking glass for decades comes to mind."

would like to think of CAWD in this way, repetition, attempting to bracket something, everyday looking at the same glass. 

See too: Glass

Saturday, October 5, 2019

Tom Humphreys at Christian Andersen


While Hupmphrey's gang has gone onto bigger better things, Humphreys doubled down on the stupid. Paintings like found in the bins of art school. The revulsion we feel at "bad painting" becomes proof of at least some internal power of painting. The Kippenberger game of self-infliction without the personality panache to recoup it, instead, again, paintings that don't relieve their stupid, but rub their face in it, even yours. This could be a Vittorio Brodmann or Nolan Simon situation, in which the slacker ruse eventually decurtains its prowess, reveal eyerolling deft brushwork, but Humphreys seems like someone who might commit to mud.

Friday, October 4, 2019

Past: Amelie von Wulffen

"...the history of painting comes like bruises into von Wulfenn's paintings. How images batter through time. We have memory of how painting was, how impressionism was painted, but it's wrong, like your head full of hangover, a painting full of malfunction, its shipment through time arrives damaged."

Thursday, October 3, 2019

Margaret Honda at Carnegie Museum of Art


A press release that leaves nothing to the imagination. The firstly described "enigmatic" is quickly revealed from under the rug as reference. We get it.

Wednesday, October 2, 2019

Lucie Stahl at Queer Thoughts


Stahl's PR placing in it, in the lineage of a romanticism, darkly what we have come to. No longer the romantic era representing ourselves as fathomless depths, standing in front of nature's crashing; we are now better feared as plumbing: oils, flows, pumps, fluids directed, misunderstood as monsters. The human body is indistinguishable from any sufficiently complex sewer. And while the gothic has had a resurgence in style, [see: Digitalat Centre d’Art Contemporain La Synagogue Delme] there is an undercurrent of a few who find gothic horror in mere reflection of the world. [see: Morag Keil, Georgie Nettell, Gili Tal, Will Benedict, Merlin Carpenter] This is our modern not southern gothic. A world already dripping black nightmare, that we pump from the earth, have constructed our world out of; Stahl:"the fluid fruit of their labor allows us to express the feeling we got used to calling freedom."  to which Henning Bohl states earlier: "Lucie Stahl has become the oil." That this all's apparent freedom may have only just come to feel like. A product pipe-capable. Art as fluids, pipes, same as any other product. We all are forced to become fluid, make a product for channels, be pumped. Morose in banality, yes.

Past: Lucie Stahl at Halle Für Kunst Lüneburg, Cabinet

"the specificity of their slick digi-crust-materialism and resolution-as-sex, we loved, the scanner trash prints: what everyone else was at such pains to display with existential and overwrought, like, expression, Stahl had turned into cheap easy and fast slacker products that got closer to the existential dread of that material-reproduction by embodying all its cheap easy fast sexy disposability."

full: Lucie Stahl at Cabinet, Lucie Stahl at Halle Für Kunst Lüneburg

Monday, September 30, 2019

Lutz Bacher at Galerie Buchholz and Sarah Rapson at Essex Street

(Clockwise from top left, Lutz Bacher, Susan CiancioloSarah Rapson, Park Mcarthur)

Yellowing archive.

While early Conceptual Art was interested in the document (the instructional as a virtual, a program, cerebral) its second generation is a bit more lossy, interested in the fossil, more precisely the fossilization, that slow decomposition into eternality, history. Recoups its own acidification, hazing, foxing, all the condition reports it will accumulate. This "second generation" invests in the degradation of generations of bootleg tape. Fossils existing as strange evidence of a world. a pathos in the materials we find to mediate our touch to the world. ... The objects here, designed for ourselves, infer something about the bodies which they govern.

It would not take a freudian to posit why particularly women appear to be more sensitive to material conditions of the world. Like, while Kosuth was concerned for all the mysteries of "Chair," Wex and Mary Kelly were like yes, but we also get pregnant. The "cerebral" of men's white concerns was treated as the higher plane and, for all its agnostic posturing, the "conceptual" allied itself with a reverence akin the religious divinity it ostensibly exiled. Men, oblivious to their own bodies that had never been in question by culture, had the privilege to etherealize themselves above everyone's heads to some assumed universal while women's were increasingly entrenched in politic ground war.

Minimalism's infatuation for the industrial process, of say Judd et al, was, in part, premised on these industrial processes deletion of the body and its "expression" (if not a promise of subjectivity lifted entirely) in looking "pure," like objectivity, removing the human. ... Of course this was the lie of any commodity: that the clean aluminum sheets comprising boxes or laptops weren't simply wiped of their indentured sweat. Minimalism hid the body in the closet. Edward's balls coagulated these castoff bodies minimalism so desperately wanted to forget."

the body is expressed not through "figuration" but its intermediary.. Think of Cady Noland's institutional objects, learning something about the specifics of flesh under society. Of elder's walkers and handcuffs. We make objects for ourselves and so of course they express us. And eventually they exist for so long beside us, silently shape alongside us, that they begin to take on facets and express things that were latent, learning by proxy.

And today we are so acclimated to objects and commodities adapted to us that any object blurrying suggestion for the function they provide (to us) produces an uncanny effect. We say they look otherworldly, alien, simply because we don't know what good they are to us...

Knowledge is kept on rapidly acidifying papers, stored in databanks we anodize against oxidation in deep storage basements to feign permanence, our security. But the world slowly deteriorates, look into the issue of archiving, it's complex nuanced and impossible, it's baby blankets spilled on, barfed on, a biological archive cum Banker's boxes purchased by the gross. Your touch leaves a mark, sews a patch, you reproduce yourself in the objects you attend. Preciousness in warm cardboard, wearing touch, eroding to someone

which Bacher recurringly recall, cosmos xeroxed into the noise of their granular flooring, stellar scales spilled across expanses like baseballs or sprawls of sand. Mountains dissolve in grains that resemble liquids in geologic time. This recurring theme. The biblical "for dust you are and to dust you will return" is, as far as we know of entropy, scientifically accurate.

see too: Susan Cianciolo at Modern ArtMarianne Wex at Tanya LeightonSer Serpas at LUMA WestbauGhislaine Leung at Chisenhale & Essex StreetLaurie Parsons at Museum Abteiberg, Park McArthur at ChisenhalePark McArthur at SFMOMARichard Rezac at Isabella BortolozziHenrik Olesen at Schinkel PavilionHenrik Olesen at CabinetHenrik Olesen at Reena SpaulingsPati Hill at Essex StreetKlara Lidén & Alicia Frankovich at KuratorMelvin Edwards at Daniel Buchholz
Past: Richard Aldrich

"Aldrich's befuddlement of the terms and conditions of paintings makes for obtuse, tangential starts digressing from those painting histories generally acceptable as beginnings. If the paintings seem facetious or frivolous it is because Aldrich doesn't necessarily venerate the histories that are painting cannon, and so which attaching almonds to a painting is not only a thing to do but becomes naturalized as a term of painting - possibly - as all the talk of flatness once was, to be premised as a deduction of the ontological structure of painting rather than some rhetorical hubris..."

"Because surely there is actually a fool doing this full time."
Past: Lutz Bacher

"the spamming of images should make it: The semantic satiation of saying it again and again mirroring Bacher's interest in the loss, in signification photocopied to death..." "into the noise of their granular flooring, stellar scales spilled across expanses like baseballs or sprawls of sand. Mountains dissolve in grains that resemble liquids in geologic time."

Read Full:
Lutz Bacher at 3320 18th St
Lutz Bacher at Daniel Buchholz (3)
Lutz Bacher at 356 Mission
Lutz Bacher at Statens Museum for Kunst
Lutz Bacher at Daniel Buchholz (2)
Lutz Bacher at Daniel Buchholz (1)

Saturday, September 28, 2019

Contemporary Art Quarterly: Richard Aldrich


"...At the artist’s request, this archive differs in format from the others we’ve published—it includes only installation views."
What is the gallery but the wreath, the coronation, lighting bestowing your anointment like a halo. No gold frames required because white real estate provides the gilt. Installation views that attempt to distance “painting” from the hegemony of its image - to ostensibly preserve it from the porn trading cards they’ve become - seems naive at best. Privatizing it simply finalizes the gallery as the accreditor, art a fiat currency.

Friday, September 27, 2019

Past: John Knight

"...that Knight's most exasperating aspects are its most powerful forms, the ultimately austere cold display system establishing authority and meaning through severe withholding"..."seething through clenched teeth..."

John Knight at REDCAT
John Knight at Cabinet
John Knight at Greene Naftali

Thursday, September 26, 2019

Lucy Bull at High Art


Psychedelia; Google deep dreams of Kahlo's flowers. Vulvas like volcanos, magma, geologic surveys. Abstraction was once "what you see is what you see" until what you saw became convoluted, full of hallucination and sexual .  The press release says as much, and is good to admit as much, our complete return to surrealism. With better psychoactives. Surrealism works for today as art must be a fount eternal, and so the point today is to overlay as much as information as possible, until it blurs, slips, make inkblots with lsd.

"The boringness of Google's "Deep Dream" project was in making explicit the pareidolia latent, [what was] hidden in carpets and noise and threatened distrust in seeing, those momentary misrecognitions and ghosts in corners. Humans are apophenic machines - made to "see things." The inkblot innuendo was an essential of abstraction that was far too impure for post-war painting to deal with: it would have limited abstraction to the mere human, like Cecily Brown's meaty innuendos, very untranscendent in an era when people were throwing around the possibility of universals. Op-art was a cheap imitation of the purer form's sanctity; Op-art rested on physiologic parlor tricks of biological mechanics rather than the more strict and thus universal forms of abstraction that could communicate with dolphins and gods."

see too: Larry Poons at Michael Jon & Alan