Judy Chicago at Jessica Silverman

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As ambiguous abstraction and bio-innuendo makes a stunning return to art, it would make sense Chicago comes with. There's been a resurgence of cats too. Orifices and cats, pussies, the feline, Schneemann, Carolee, and her cat kissing. A long history of cats in art, Bonnard, Manet, Egypt, etc. The dog doltish in comparison. The cat more sly, artistic, essentialistically feminine.


Literally, Cat butts: Autumn Ramsey at Night Club, Autumn Ramsey at Park View, Alice Tippit at Night Club, Trevor Shimizu at Rowhouse Project

Mary Corse at Kayne Griffin Corcoran

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Perceptuality in art feeling like a fossil dragged into the 21st century. Trends for "presentness"already been subsumed by our yoga practices and then trend the phone-films of airplane interiors and whatever other banalia which too aggrandized plain "experience" wondrous as any ice cold lightbox. Air and space focused on place which turned to "site-specificity" treating museums as church to it, turned by the young into experience as transmissable blips to light up the networks we all spent most of our experience more and more on anyway. Personal attendance seems like a morality, a penance to drag your body across.

Adrian Piper at Lévy Gorvy

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Looking through, there are facades and appearances and reflections of subjects. There's, like, layers of appearances, look at these two competing wikipedia entries, the en.wikipedia version and the version Piper corrected. You can read them through each other like glass overlays which look but don't touch, a drawing over a photograph of a subject:

https://en.wikipedia.org/wiki/Adrian_Piper
http://www.adrianpiper.com/removed-and-reconstructed-en.wikipedia-biography.shtml

Ruth Asawa at David Zwirner

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"David Zwirner is pleased to announce the gallery’s first exhibition dedicated to the work of Ruth Asawa since having announced the representation of the artist’s estate earlier this year."
And like that the Asawas sprout all over Manhattan, in group shows, in windows, on CAD, museums, the Whitney, recently acquired by MoMA, moved out of backrooms as though its suddenly now time to care when there's something to be made of it. The collective rolling of eyes goes unharnessed.

Wilfredo Prieto at NoguerasBlanchard

 

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The Rorsharch tests that nature makes. Predators don’t search for meaning. God gives them to ours to mock us: the more inkblot-like mammals resultant from human domestication; wolves, foxes, and bovine undergoing human selection make Rorschach blots appear. Like God putting an easter egg in genetic biology. Messing back a message to those messing you. A good God joke. Whats are cows but a human technology for dairy. A narrative which our artist, well pedigreed in conceptual art, deploys in good conceptual fashion, using objects as representations for talking points. The best of which mutate in the beholder's eyes, an object as phantasm, visions for whoever is seeing it, to then be concretized in words like these, beautiful.

John Ahearn and Rigoberto Torres at Alexander and Bonin

https://www.newyorker.com/magazine/1992/12/21/whose-art-is-it

Matthew Brannon at David Kordansky

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The decision to represent the mess of history with the cleanliness of silkscreen graphics - opposing the usual hair representing its miasma - commendable if symbols and things didn’t present their own interpretive vague, a tidiness become question of what’s been scrubbed. “the war from which my generation sprung was rarely spoken of.” cleaned to ominousness.  The “short timer” calendar, explained in the pr,* becoming glyphs for the artist object, interpreting another, the “soldier-‘artist’.” The “soldier-‘artist’”, the object-subject, the theater pieces Brannon has continually moved into, an interpretive scenery invented.

*“someone with less than 100 days left on his tour. During the war, some would draw calendars, often lewd, to count down their time. Brannon’s research led him to compose fictional renditions”