posted by Caroline Picard

I just came across this article by Bert Stabler and thought you might enjoy it. I’ve included the first few paragraph here:

Without You I am Nothing

Various Artists
Green Lantern, March 27th – April 25th, 2009

withoutyou_1In the recent edition of local Marxist pamphlet, “The Platypus Review”, David Harvey writes portentously of the dire consequences of ignoring his repeated insistence on “the geographical dynamics of capitalism” and “the production of spaces, places, and environments.” He goes on to present a believable, albeit not terribly radical, lay analysis of contracting global markets, but the zeitgeisty Situationist spatial motifs of the defanged aesthetic left seemed to be what he wanted to leave behind for his reader to mull over. It seems these days that the specter of the map is inescapable in the attempt to reclaim utopia, with the universal inhabiting the particular even more vividly in the cozy social microcosm than in Harvey’s attempt at a grand picture.

you can read the rest by following this link.

posted by Caroline Picard

Heya! We got a sweet write up in NewCity. You should check it out….I’ve included the first paragraph below.

Review: Without You I Am Nothing: Cultural Democracy from Providence and Chicago/Green Lantern Gallery

RECOMMENDED

“Without You I am Nothing” features print work from both Chicago and Rhode Island artists. The viewers’ interaction with the artwork and with other visitors is integral to all the interactive pieces on display, so the exhibition is also an exercise in “relational aesthetics,” a fancy term for the radical idea that it’s okay to talk to someone else about art.

You can read the rest by going here.

Run (Book Review)

March 23, 2009

Run, Ann Patchett, 2007, HarperCollins.

Just like my last review, this is a book written by an author who wrote one of my top-10 favorite books of all time (in this case, Bel Canto). And, just like my last review, it was a disappointing read. The book centers around a cobbled together family, and some coincidences that bring them together. But I didn’t buy it. I didn’t buy the family and their dynamic, and I didn’t buy the coincidences that brought them together. In case that wasn’t enough, the book also suffers from some un-careful prose, such as “Then the crowd shifted imperceptibly, and opened up a narrow path for Doyle and Sullivan and Kenya to meet them.” If something is “imperceptible” it cannot be perceived. A path, however narrow, is obviously perceptible. Un-careful. I won’t stand for un-careful, anymore than I will for catharsis (see the last review).

I actually like the book in my next review, The Brief Wondrous Life of Oscar Wao, by Junot Diaz.

–Tobias Amadon Bengelsdorf

P.S.1, LMCC

*click on the images for larger versions, sorry about the quality of these images–they were taken on my camera phone*

–Young Joon

 

 

 

evg_0206

P.S.1, the contemporary art sister-museum to MOMA, is housed in an old school building–it looks like a fortress. I kept imagining the battle in Lord of the Rings, where everyone’s trying to hide inside that fortress and fend off the evil ogres…

It was really nice to see some artwork outside of the fairs.

 

 

 

img_0413

Leandro Erlich: Swimming Pool

This was a really nice work. You can view the pool from above or below. People were really having fun with it–pretending to be swimming, taking pictures; it was a really well-done interactive installation.

img_0418

 

 

 

 

img_0400

The video installations of Yael Bartana were really engaging. The work doesn’t require one to sit through the entirety of the video, but rather, one may enjoy the works on one’s own terms. Still, I felt compelled to sit and to contemplate the moving images, allowing meaning to unravel slowly in the dark and intimate environment.

 

Bartana’s work brings up associations of human patterns throughout history–of violence, of power struggles, of social divisions and hierarchies.

img_0401

 

img_0405

 

img_0408

 

 

 

 

img_0419

Tofu on Pedestal in Gallery

Jonathan Horrowitz

 

Haha; a nice little “fuck you” to the institution.

 

 

 

img_0423

Kenneth Anger Installation

I’ve long been a fan of Kenneth Anger–his impact on Queer artistic discourse is great, and his works were at the forefront of avante-garde video. Still, I was wonderfully surprised to experience this installation of his, which was very thoughtfully executed. It has the power to renew and shift considerations of his work. It was a real pleasure.

To see more about the artists and the exhibitions at PS1, click here.

 

 

 

Later on, I met up with friend and artist, Gisela Insuaste, whose work you can check out here.

img_0445

 

 

We headed over to the LMCC (The Lower Manhattan Cultural Council) artist studios for their open-studios. The organization does a lot for artists in New York–offering grants, residencies, and public art programs in Manhattan. Check them out here.

 

img_0446

Artwork by Davied Balula, current resident and wierdo.

I’m going to be paying attention to this artist…

I love the variety of common everyday materials he uses; they seemed a little frivolous at first, though that notion is disproved or rather, complicated by a cerebral approach to combining these materials, and the resulting aesthetic of the works–minimal, quiet, fun, whimsical, pleasurable. The work relies on the environment or rather, the environment is an important part of the work–physical space, and the tenets of that reality…wierd! The way he brings everything together is inventive, beautiful, and thought-provoking.

 

img_0447

 

img_0448

 

img_0450

 

New York, Part 2: Volta

March 11, 2009

Volta

–Young Joon

Of all the fairs, I was most excited to visit Volta–this is a fair in which each gallery’s space  presented a body of work by a single artist.  The fair was housed in an office building in mid-town, adjacent to the Empire State Building; its location–a signal of what I saw to be an overarching subtext for the fair itself, and much of the work on display: art’s place in commerce, the changing role of the artist in contemporary times, and the anxiety therein.

The fair seemed a collective critical response to contemporary pandemic conditions–of an ailing economy, and a society dealing with the repercussions of the failure of capitalism.  It didn’t seem to propagate a simple polemic, rather, it was a forum for the exchange of cohesive artistic voices.

 

 

an allegory for the apex of artists’ careers?

img_2085_2_21

by Trong Gia Nguyen

 

img_2086

a piece by Angelina Gualdoni

Kavi Gupta

Chicago was VISIBLE at the New York fairs.  It was great to see Jason Lazarus’ work in the Andre Rafacz space, along with that of Walsh Gallery, Imperfect Articles, and Rhona Hoffman, Western Exhibitions, and others at the Armory.

 

img_2088

Pieces/installation by Gavin Turk

img_2089

 

img_2091

Drawings by Sebastian Gogel

Galerie Emmanuel Post

img_2092

 

img_2100

Art by Maria Nepomuceno

A Gentil Carioca

I’ve noticed a lot of art that doubles as functional objects, being presented in a fine-art context.  Is this a sign of things to come?…what with the history of consumers seeking hybrid/cross-over products with versatile functions..

Maria Nepomuceno

 

img_2096

Rune Olsen

Samson Projects

Indeed, it’s a bear market…

img_2095

img_2098

The Armory Show

*posts on volta, and other art stuffs in NYC will be posted separately*

Young Joon

I got a chance to go to the Armory fair & Volta this past weekend, and there was a lot to look at.  Being the first time I’ve gone to the New York art fairs, I didn’t know what to expect; though I have to say that I held onto the notion that commerce is really at the heart of art fairs’ existence. Since the ’90s (?), they’ve played a very real function in contemporary art–being the primary mode for displaying and dictating the trends of VALUABLE artworks.  I was also really interested in observing how current market conditions are affecting the ubiquity of these fairs–if and how the structures for widespread cultural legitimization/commodification of art will shift.  I’ve yet no declarative sentiments.  Even still, this is very exciting for me. 🙂

I took pictures of some artwork that really captured my attention–be it through the materials, color, or a more ambiguous percieved connection in ideas between myself and the art…

[click on the images for larger versions]

 

img_20681

William Pope.L
Bin (Version 2)
2008
Wood, mirrors, fake fur, rock lamp, metal handle, dvd monitor and playback
36 x 52 x23”
Mitchell-Innes & Nash (New York)

img_20691

Something about this piece feels like home–kinda like something I’d see in Chicago.  I can’t quite put my finger on it–it lacks that veil of seamlessness that many contemporary art objects strive for.  When I look at this piece, I start to develop a narrative of the work’s creation, from the inception of the artist’s ideas, to the compiling of materials, and the way the artist uses what they’ve got, the way they know how, because the artist had to make it when they did–resulting in this wierd, crazy thing that fucks with notions of singular material discourses (is it a painting? video? sculpture?); and it’s so captivating, yet unostentatious.

img_20701

 

img_20721

Andy Coolquitt
21st century aggressive carpet growth
2008
Wood, Carpet, metal , wire, lightbulb, glass
269 x 15 x 15 cm
Galerie Krizinger Vienna

 

 

img_20761Arabella Campbell
Black Painting, 2009
Plastic tarp
48” x 60”
Catriona Jeffries

 

img_20741Loris Cecchini
Gaps (ladder)
2004
polyester resin, paint
Galleria Continua

 

img_03941Marlene Dumas
“Inverted Marilyn” 2008
40 x 50 cm
oil on canvas

K, perhaps I just haven’t seen much of Dumas’s works outside her body of monochrome portraits–but it seems she’s made a huge shift in her painting.  The way she creates this ambiguous space, and her complex, yet understated pallette, and how she physically handles the paint on the canvas–the goops, the brushwork, the finnesse of her hand–it’s all the more powerful to me–here in this very painting.  Blown away…

What did others think of the fairs?

THESE ARE POWERS @ the hideout

by Rachel Shine

Totally sexy. First impression: obnoxiouspretentious as they set up multineoncolored camoflage. But no – she (vocals + tamborine + hand cymbals + noisebeats) has a smooth, powerful voice (and a big, pretty mouth), he (drums + keys + backing powervocals + electronoise) is passion, electricity in keyboard, drum, pedal circle, he (bass guitar + backing vocals + claps + between song up-ups) shreds, stomps, shakes. she smiles, wicked outfit, bromance confessor. do. not. miss. these are powers.