November 21, 2005

Mike Kelly at Gagosian

This turkey of an exhibition fits right into the holiday spirit. One of the most boring exhibitions I've ever seen. The notion of 100 Monkeys typing on typewriters for 100 years may by chance produce a great novel has an equvalent in the art world, to whit; give any artist six million dollars and they might produce good art. But then again they might not as is the case with this show. There are no photos because the guards at the exhibition (there must have been 10) prevented me from taking photos. I guess you'll just have to buy the expensive coffee table book on this exhibition. Remember the end of the eighties when the Neo-Excess movement was so FATUOUS. Yes, this show equals anything that Schnabel could produce.

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November 18, 2005

More High School Iconography




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PERFORMA, the multi-venue Biennial for performance art is the surprise for the Fall season. Rob and I go to Paula Cooper to see Carey Young:Consideration. You get fingerprinted and your prints become part of the exhibit. I said OK as long as I can photograph the exhibit. There's also a Bas Jan Ader installation at Perry Rubenstein gallery. Ader was an Arte Povera artist that settled in California and taught until he died. Seems he's a cult hero out there. I liked seeing the B & W video of him crying on one wall and a color video loop of flower arranging on the other wall. The Mike Kelly High School re-enactment show at Gagosian was godawful. Lame vampire imagery. It's the worst of po-mo irony. You have to wonder what a 50 year old man is doing re-living endless high school drama/trama. It's so vapid that I can't say enough bad things about it. Mary Kelly's show at Postmaster's is delightful. She restages some feminist demonstrations and does an intervention outside a fashion show in London. Has all the integrity that Mike Kelly lacks. Magda, Rob and I talk about the upcoming 101010.org show at Postmasters. Oh yes did I say a limp Hans Haacke exhibit at Paula Cooper? Gelatin at Leo Koenig gallery is amusing. Seems like the art group has built a big plywood box and stashed themselves inside while they try to copy things that people put in a slide though box of some sort. They are billed as a giant copying machine. It's bad joke time all around Chelsea.

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November 07, 2005

High Line Chelsea




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Rob and I drift around Chelsea looking for something. We fall into Tanya Bonakdar and see a photo piece that is on a wing wall. One side is a young man knocking on a door (full scale) the other side of the wall is a photo of the inside of the apartment door with a young man seated against the door. It's a piece by Michael Elmgreen and Ingar Dragset, I believe. Nice piece but what is it? I'm reminded of a Bas Jan Ader conceptual photo piece from the 1970's. Is the emotion real or is it fake? Is the young man in both photos the same man? Anyway on to Eyebeam where the don't miss it work of the year is Antony McCall's light piece. It's to the left behind the velvet curtains. McCall's original work in 1974, Circle Describing a Cone, was the inspiration for the Gordon Matta-Clark work in Paris called Conical Intersect. I should know I cut the cone into the building with Gordon. Speaking of Gordon Matta-Clark, the high line exhibit at Gansvoort street has a film of Gordon Cutting the facade of the Gansvoort pier for the Day's End project, another piece I worked on. Rob liked the giant wood strut and fluorescent eagle by Chris Doyle at Jessica Murray projects. Rob has been having a relational aesthetic moment see my blog for heavy duty theory. Also very cool is the 3 channel video by Julia Lokta at Eyebeam.

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November 04, 2005

Duston Spear at Sara Tecchia



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Benjamin Tischer the associate director of Sara Tecchia Gallery (529 West 20th Street, New York) talks about the Duston Spear exhibition. Spears' work is like a latter day Cy Twombly. There's an attention to the idea of the hand as it forms the letters of a word. Speer's pallette is quite lush and yet subdued at the same time. That seems like a contradiction but it's true. The magnified stroke of Graffiti is combined with other marking techniques such as scratching in a tar soaked base. The pick of the show are paintings made up of different panels. The dynamic between the sculptural and the narrative surface presents a reinvigorated look at the shaped canvas that can be compared to the likes of early Frank Stella and more recently Ron Gorchov.

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