I Can Crawl Again (in Chelsea)
Jacco Olivier, MARIANNE BOESKY, 535 West 22nd Street, 2nd Floor, November 13–December 11. William Kentridge meets LeRoy Neiman meets the Discovery Channel. Small animated paintings projected from thigh-high plinths directly onto the wall. This is what Donald Moffett tried and failed to do--make lush, moving, painterly paintings. Will someone buy one of these and burn a DVD for me?
Daniel Lefcourt, TAXTER & SPENGEMANN, 504 W. 22nd Street, November 19–December 18. Paintings of lumps of coal on pristine, high-commodity linen. Jet black juicy paint crosshatched with strokes as if from the Zen master's rake. Unrelenting Germanic rigor. Ponderous titles based on books of philosophy.
Martha Rosler, GORNEY BRAVIN + LEE, 534 West 26th Street, November 01–January 30. Extending Richard Hamilton's "What makes today's homes..." collage to feminism and antiwar themes. Lots of hot babes posing nude, working in the kitchen, mowing lawns in stretch pants. Biting wit occasionally goes overboard and gets too obvious with war dead juxtaposed over suburban interiors. The best are the Austin Powers era ones.
Art Battle: Richard Kern vs. Lily van der Stokker, FEATURE INC., 530 West 25th Street, October 23–December 11. Kern's photobooks of hot downtown babes are possibly the most thumbed, greasiest items at the midtown Virgin Megastore. Here he's not as skanky, perhaps reflecting the modifying influence of van der Stokker's gaily colored wall-hugging daybed sculptures, which hold the line for permanent presexuality.
re: the martha rosler collages- it's good to see that rosler has bounded back to her signature collages, but unfortunately the newer collages don't seem as complex or even as visually interesting... just cutting out some runway pictures and putting them into iraq scenes isn't quite enough, you know? also, her lyndie england collage (which recalls the collage that gave pop its name) does little to add to the dialogue- either about the war or her collages. and re: their slapdash look, well, let's just give her the benefit of the doubt.
Paul H.
to paul, irt would be sooo interesting to know what you would have said about the early ones in their day. these seem at least as interesting to me. slapdash as you call it is part of the idea, no? others might think they were too much the opposite.
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I Can Crawl Again (in Chelsea)
Jacco Olivier, MARIANNE BOESKY, 535 West 22nd Street, 2nd Floor, November 13–December 11. William Kentridge meets LeRoy Neiman meets the Discovery Channel. Small animated paintings projected from thigh-high plinths directly onto the wall. This is what Donald Moffett tried and failed to do--make lush, moving, painterly paintings. Will someone buy one of these and burn a DVD for me?
Daniel Lefcourt, TAXTER & SPENGEMANN, 504 W. 22nd Street, November 19–December 18. Paintings of lumps of coal on pristine, high-commodity linen. Jet black juicy paint crosshatched with strokes as if from the Zen master's rake. Unrelenting Germanic rigor. Ponderous titles based on books of philosophy.
Martha Rosler, GORNEY BRAVIN + LEE, 534 West 26th Street, November 01–January 30. Extending Richard Hamilton's "What makes today's homes..." collage to feminism and antiwar themes. Lots of hot babes posing nude, working in the kitchen, mowing lawns in stretch pants. Biting wit occasionally goes overboard and gets too obvious with war dead juxtaposed over suburban interiors. The best are the Austin Powers era ones.
Art Battle: Richard Kern vs. Lily van der Stokker, FEATURE INC., 530 West 25th Street, October 23–December 11. Kern's photobooks of hot downtown babes are possibly the most thumbed, greasiest items at the midtown Virgin Megastore. Here he's not as skanky, perhaps reflecting the modifying influence of van der Stokker's gaily colored wall-hugging daybed sculptures, which hold the line for permanent presexuality.
- tom moody 12-07-2004 10:52 am
re: the martha rosler collages- it's good to see that rosler has bounded back to her signature collages, but unfortunately the newer collages don't seem as complex or even as visually interesting... just cutting out some runway pictures and putting them into iraq scenes isn't quite enough, you know? also, her lyndie england collage (which recalls the collage that gave pop its name) does little to add to the dialogue- either about the war or her collages. and re: their slapdash look, well, let's just give her the benefit of the doubt.
Paul H.
- Paul Heyer (guest) 12-08-2004 6:12 pm
to paul, irt would be sooo interesting to know what you would have said about the early ones in their day. these seem at least as interesting to me. slapdash as you call it is part of the idea, no? others might think they were too much the opposite.
- laura n. (guest) 1-04-2005 8:39 am