Rebecca Brewer, Rochelle Goldberg at Oakville Galleries

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our desire for a materiality comes at the hands of world we increasingly do not touch. And so art must become a hyperstimulus; art must make us, perverts of novelty, feel something through glass, by sight, because our hands have been removed to a world we touch only through electrified track pads, through eyes, through a world like advertisement. And art, for all its self-segregation, increasingly must compete with entirety of visual diaspora, entering into mass cultural networks, instagram and webpages becoming its channels, same as all the other. The gloss of Artforum is now a forlorn beacon in comparison. How does art compel belief in its higher order. We now compete with actual images of dead oiled fish. Art excesses itself, crusts, proofs its real.

Group Show at Commercial Street

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The aesthetics of our mythic urban ruination, fragments. Google results:  "35 of the most Hauntingly Beautiful Urban Ruins" "Urban Exploration Tourism" "Beauty in Decay" " Amazon.com: Beauty in Decay; A visually stunning book" showcasing the wider appeal of our desperation, of our ruin. McCarthy's The Road on Oprah's book club. "For at least a year Rochelle Goldberg’s steel structure will be submerged in the water of Buzzard’s Bay." Children's films set post-apocalypse. Hopefully: a tiny little shaman to lead us out of our fascination with desperation and not back into it, like so many moths attracted to artificial light.


See too: Cathy Wilkes at Kunstmuseum Linz