Thursday, February 25, 2010
Monday, February 8, 2010
Don't judge a show by its press release/how the gallery's staff sees it. While there are for sure some real stinkers—to be expected with such an easily/lazily put-together show (surely someone must have cancelled...), some gems do shine through the fecal murk. Nic Gambaroff's merriweather post pavillion take on Barré warms the coldest of hearts; Ann Craven goes about getting outta of the swamp by literally putting lipstick on a pig, using turpenoid on the foulest of turds; and Jacob Kassay follows Craven's lead, taking an acetylene torch to Chris Wool's ball hairs. But I guess that's it, the remaining carnies should return to learning the over-under for the next time the Scorched Earth rub'n'tug jamboree rolls through town.
Thursday, February 4, 2010
Just like global capitalism, there is no regulating HUO: he is always pushing the limits of his deregulation. When you think you figured him out, he’s long gone, and like bacteria in certain cheese, he his best when at full gear. English art publication ArtReview magazine sure thinks so too, and with the humbling exhaustivity and desperation for relevance (via funky graphic design) of their Power 100 issue, in which HUO is crowned most powerful person of the year 2009, it’s difficult not too think of Bret Butler juggling on the cover of Time magazine, juggling with baseballs…
After scoring some diversity points by going Koh in 2008, hitting an emerging-markets grand slam in Asia through 2009(marathon in China, biennale in Japan, something about Indian artists…), HUO seems to be coming back for some alt-cred to kick the year off by erring on the side of edgy/kvlt—contributing a piece to a catalog by Bjaarne Melgaard that might suggest somebody has a microsoft office template for catalogue contributions…
"Certainly, Bjarne Melgaard’s work, as we noted at the time, moves in and out of contexts and geographies in a restless ‘flux of energy’, ‘mixing … media’ and moving from ‘paintings to drawings, to installations and sculptures and to movies’ As he recently revealed to me."
The economics of being there are well at play in this fragment, and —it seems— a sympathetic nod to christian middle class values of effort, work and self-sacrifice.
It would seem that the the best HUO-bashing is the one Isabelle Graw’s german-language blog., in which she reviews an interview with Max Dax for the German monthly Spex. Extensive name-dropping (I had David Hockney over, Matthew Barney said…), mystico-neo-liberal Deleuzian rhizome ecstasy (“new lines of energy”, nodes”), art’s redemptive power (compare with “the butterfly effect”…)
Wednesday, February 3, 2010
Tuesday, February 2, 2010
So... yes, people trade art all the time, from haircuts to dental work to far more illicit services. While—of course—a tale as old as time, metallurgically writ no doubt somewhere yonder, I still wonder what a birdman's art collection would look like these days? Do they accept/acknowledge the value of unmonumental trash that is disavowed by the quotidian mores of mainstream AmeriKKKa? Could Sibony score a brick in exchange for scavenged plywood stood upright? I have heard (don't ask where) that Robodaddy call his work "chopped and screwed"...hmm, do the hours committed by the "children of Warhol"/tokion illustrators readily swap hands with narcotic delite without sloshing thru the "what is art?" mud? Can one kill 2 birds with one stone, i.e. slang "rock" or whatev and diversify their assets simultaneously? Did Smith agree to a Deitch show becuz they cut out the "middle-man"/pay with the "real green"? I kinda wanna know...