Yu Nishimura at Crèvecoeur and KAYOKOYUKI and Komagome SOKO

(Crèvecoeur, KAYOKOYUKI and Komagome SOKO)

either avoiding or lack a language for the most obvious elements of painting. Or pretend the obvious isn't. Speak to some ulterior, interior, some grand "meaning" just out of sight. Matisse painted incredibly stupid paintings of goldfish, even more of women, but we don't say that; we say, "Goldfish were introduced to Europe from East Asia in the 17th century." A complete non sequitur to painting. We pretend painting is too serious, handled with care. But it is the childlike wonky that is their enjoyment, the complete derangement of "cat" that may be their only fun. Look how poorly I can paint it and still might make you feel it.  But, "poor" is a subjective term masquerading as an objective one, an assessment tool of some biased hoodwink. We don't say that anymore. Which is why this cat looks like a pickle.

See too: Trevor Shimizu

Autumn Ramsey at Crèvecoeur

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In that the decorative itself becomes an object. It's not the shimmer to a space, but the sculpted out affect. You're not looking at a lion, you're looking at a hallucination carved.


See too: Autumn Ramsey at Crèvecoeur, Autumn Ramsey at Park View, Autumn Ramsey at Night Club

Miho Dohi at Crèvecœur

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Tuttle's never really resembled, their garbage was formal compositions from whatever, looking like nothing more than art. They looked like art. Which was its own politics then. But Dohi's resemble, recall unplaceable things, which is our politics now. Resemblance was dirty back then, we wanted purity in forms, because clouded abstraction led to impure thoughts. Why do we desire allusive formalism now? Fecteau, Baghramian, Balema, Nagle, et al. Is still a latent surrealism? The shifting space of ambiguous "clouds" saying that one looks like a rabbit but never knowing it.

See too: Vincent Fecteau at greengrassi, Lui Shtini at Kate Werble, Ron Nagle at Modern Art, Nairy Baghramian at Walker Art Center?, Nairy Baghramian at Museo Tamayo, Nairy Baghramian at Marian Goodman Larry Poons at Michael Jon & Alan, Lucy Bull at High Art, Olga Balema at High Art, Olga Balema at High Art (2)

Than Hussein Clark at Crèvecoeur

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What would it mean if your face went baroque? Grew extra decoration, an excess of facial ornament, a sinuous nose, maybe a second or third nose, a face rippling and exuberant, an excess of face, your eyes like twisted columns, 64 floral teeth, a rococo face, a visage replete with flourishes. verb, to baroque something, a surfeit of something. That's sorta Clark's modernism.

see too: Marc Camille Chaimowicz at INDIPENDENZA

Autumn Ramsey at Crèvecoeur

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The decorative embellishments adorning the subject like Christmas tree, a structure for the hanging of means, that while Moreau's wreaths of ornamental doodadery shimmer with objects and riches, Ramsey's warble with the various means of representing those objects, the paint itself.  Us again gathered around the yule pine's glow, decoration, at an object that has more or less lost its meaning to act the tradition itself, history painting glitz.