Kayode Ojo at Maureen Paley

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2006? Carol Bove, Martin Boyce, Patrick Hill, Michaela Meise, et al. VVork-core. "All the chatter about a 'new formalism' going on." It was our "Fuck the Bauhaus" moment. They're all in Artforum several times. Everyone was repackaging, recompositionalizing, a minimalist modernism. Presenting tableaus of a wonkified high culture past, like bent Ikea showrooms of minimalism. Now it is a micro-era, quickly forgotten. But the procedures remain fun, merchant stands for selling something back to ourselves.

See too: Every 10 years assemblage reinvigorates itself as the dumpsters picked through are modernized to the current castoffs and appear new, the waste that evolves along culture until finally an artist is able to rummage up enough LEDs, acrylic panels and Arte Povera catalogs to accumulate the update to our Rauschenberg cardboard clogging the pipes of our forward progress.

Max Hooper Schneider at Maureen Paley

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There is little difference between the vitrine and the television, a box for growing an amoeba-like sentience - be the longterm point MHS has been making. And its parallel to painting. The petri dishes of a culture medium. Culturing culture. These grow lights. It's fun to open up a TV and see a brain, cut open a painting and see anything but art, splice into fantasyland, the casino shrunken, it's a small world afterall. 

Read all: Max Hooper Schneider

Peter Hujar at Maureen Paley

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Hujar is obviously in the majors. But the photos now enter this procession of art's holy spirit, aggrandizement of its moment, its beautification. This is how photography steals souls.  Turned into little jewels. 

See too: Moyra Davey, Peter Hujar at Galerie Buchholz

Wolfgang Tillmans at Maureen Paley

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Perhaps what's at stake in the "blushes" is prettiness, an offhand nicety whose cheapness and disposability Tillmans weights against all the other offhand "cheap" snapshots of humans about their lives. Placing stake that you cannot dispose the saccharine abstraction without throwing out the people, humans. "If one thing matters, everything matters." And so they are like sunsets, both the near endless regurgitations of saccharine accident, cliche. Incidental returns of arbitrary conditions, completely unique and, like people, endlessly the same. A triple-point of beauty, arbitrariness, meaning. And perhaps meaning, our affection for the blushes, only appears as ward against inversion: If even one doesn't matter, nothing matters. Our fear.

Michael Queenland at Maureen Paley

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Pre compress our trash into the decorative fossils it will become? Litter absorbed into the earth that on geologic scales become liquids, so our landfills are like slow smoothies. Someday someone assess our ruins as beautiful fossils.


Trash: “May the Bridges I Burn Light the Way” at STANDARD (OSLO), Nancy Lupo at Kristina Kite & Yuji Agematsu at Miguel Abreu, Dylan Spaysky at Clifton Benevento, Nancy Lupo at Antenna Space, Yuji Agematsu at Real Fine Arts

Michael Krebber at Morena di Luna

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Oops. An artist doing a little show where no one will really see it quietly attempting to take the cash and bam exposed on CAD like being pantsed, showing like clean white gallery underpants, and these as you can see from the photos are very freshly laundered, like an ad for the cotton that holds them. So of course it's the one with the smooshy brown on it you like the best.

Michaela Eichwald at Maureen Paley

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The platter served on matters, canvas tends to absorb any spillage of material suggestiveness, but poured onto pleather paint flourishes in its implication: painters are smearing their own oily expelleds.  Like graffiti's intestinal signatures defecating their authorial, artworks that we conceptually digest while our stomachs do the same. Looking at art doesn't work if you have to take a piss, its magic is ruined by a heavy bag, so that when you try conceptualize art with your head you're still reminded of your bowel held waste, the brown rope tethering us to earth that Eichwald seems to consistently paint.



see too: John Miller at Barbara Weiss, Nicolas Deshayes at Modern Art