Is this a throwdown? It’s tempting to think so, since the title, Greater LA, is obviously a riff on the seminal P.S.1 survey Greater New York, and is installed in the same type of beat-up SoHo loft where major New York art history went down in the 1960s and ‘70s. But don’t get too excited. Any sense of bi-coastal competition erodes quickly when you realize[…..]
The figures in Dutch artist Folkert de Jong’s work are both historical totems and cautionary tales. Suggesting that our darkest impulses are unavoidably cyclical in nature, he evades didactics through a combination of period details and contemporary imagery. de Jong seems to understand that every nationalistic conquest brings with it trumpet bleats, shiny shoes and other supposed finery—things that, while often treated as symbols of[…..]
This show reminds me of the time I danced for hours at a club in Cologne, caught part of an arthouse film next door, and then somehow ended up at a bar where a bunch of people I didn’t know were drinking like it was the end of the earth. Ok, so that never happened. But I feel like Cosima von Bonin’s current show, The[…..]
Karen Kilimnik’s current show at 303 Gallery in Chelsea is refreshingly spare and conceptually tight. Centered on a multimedia installation from 1989 titled The Hellfire Club Episode of the Avengers, the show also includes a few drawings from the late ‘80s and a handful of paintings and photographs from 2011. The disparate elements on view gel to create a sort of mini-opera, complete with a[…..]
More Failure More!!! -This week’s series on Failure falls in line with our previous rounds on Myth, Utopia and Rebellion. Stay tuned as we attempt to succeed this week with 6 more articles on Failure… FORCE OF FAILURE: DailyServing’s latest week-long series Lynda Benglis is a fearless artist. She added a much-needed sense of humor to first-generation feminism and imbued late 1960s/early ‘70s Post-Minimal sculpture[…..]
If, on some level, art really is about what you can get away with, then Josh Smith, known mainly for painting his name over and over, has been robbing us blind for years. Perhaps he senses that the gig is up on the name paintings because his current show introduces leaves, fish, bugs and butterflies, as well as an impressive foray into sculpture. It seems[…..]
It’s par for the course for blue-chip galleries to mount so-called “museum quality” exhibitions, and hardly a surprise when they coincide with auctions and estate holdings. Readykeulous: The Hurtful Healer: The Correspondance Issue at INVISIBLE-EXPORTS is just as historically potent without being market driven. Founded in 2005 by artists Nicole Eisenman and A. L. Steiner, Ridykeulous has gained consistent momentum, and this is their strongest[…..]
