Margaret Honda at Carnegie Museum of Art

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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.

Jacqueline Humphries at Carnegie Museum of Art

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The thin distinction of Humphries from the song and dance of all those other silver abstractionists is that the well worn jazz hands of "expression" aren't, for Humphries, totally choreographed yet by Dr. Frankenstein. While the corpse may have its fluids replaced in technicolor to be paraded around in chromes and newfangled chemiluminescence, it's the activation of this new deployment of means, materials, not just silver paint but making the silver paint shine like candied yams. Painting a vehicle to showcase silver paint, for trippy material fetish. This song and dance is actually a visual pleasure of a long dead corpse embalmed really well.

See too: Albert Oehlen at New Museum, Raoul De Keyser at Inverleith House

David Hartt at Carnegie Museum of Art



The score’s initial passing resemblance to Bepler’s Cremaster score, heavy on atonal art standards, quickly dissolves into deconstructed pastiche, a fun free jazz lobby music suspending, like the film’s forever-digressed plot, a never-coalescing, and distending like cremaster muscle the foreboding long shots of architecture’s banal non-ness, opposing Barney’s continual erection - square shots on male architecture - with your more standard on-the-fly montage cuts of hollywood banality, Hartt’s sometimes fun Tacita Dean style ride. The home of Ebony/Jet comes off as far more interesting merry-go-round than Dean’s even most alluring Kubrickian evirons.
The exhibition's documentation mirrors the film’s fetish of architecture.