Category Archives: Culture

Ryan McLaughlin: Raisins

The biggest of Ryan McLaughlin’s abstract paintings up at Laurel Gitlen in the Lower East Side measures 25 ¾ inches wide by 35 ½ inches long so, properly wrapped, you could probably manage to transport it by bicycle.  In that regard, the show as a whole is imbued with a humanizing scale and pace.  Eight paintings are on view, the biggest noted, the smallest comes in at 10 by 8 inches, all are abstract or, perhaps more accurately, levitating at the edge of the representational.  The palette is toned down, there are instances of color but as if sun-bleached, and a slight tobacco-stained hue hangs over it all.  There is no pictorial depth: all the action is on the surface.  These modest essayistic paintings invite and reward close viewing. From what I can gather, this New York show marks McLaughlin’s solo American debut.

Anselm Kiefer: Studios

One of the most powerful art exhibits I have ever seen was Brancusi’s reconstructed studio at the Pompidou center in Paris. The heaviness of the rough-hewn space was balanced by the ethereal light that permeated it through the skylight, which literally made me see Brancusi’s elemental sculpture in new light.

One of the most memorable things my friend Damien has seen was the fully reconstructed studio of Francis Bacon in Dublin. He wrote about the new insights into Bacon’s work that the exhibit allowed him. What impressed us both was the sense of being transported into a place where the artists worked, which in turn made sense of the artists’ work. Of course, Brancusi’s studio looked the way it looked. Of course, so did Bacon’s. That the workspace matches the art makes sense especially for those artists who try to tease out the essence of their worldview and embed it into their work.

Raymond Pettibon

The work of Raymond Pettibon, the Los Angeles artist most famous for creating the logo of the punk band Black Flag, is now being celebrated with a new monograph ($150, Rizzoli).

Christopher Wool

As Richard Armstrong, Director of the Guggenheim, noted in his introductory remarks to the press, Christopher Wool stands as one of the “last of the non-ironic artists.”  In that regard, what you see in Wool’s work is what you see or, in certain instances, read or, to crib from one of the paintings that closes out the Guggenheim’s survey of his work, The Harder You Look the Harder You Look.

Counter Forms

“Counter Forms,” a beautifully thought out and lovingly installed show curated by Elena Filipovic, Senior Curator at WIELS Contemporary Art Centre, Brussels, is currently on view in New York at Andrea Rosen Gallery.

The exhibit brings together historically important work, primarily small sculptures, dating to the 1960s and 70s from four artists, Tetsumi Kudo (1935-1990), Alina Szapocznikow (1926-1973), Paul Thek (1933-1988) and Hannah Wilke (1940-1993).

The tag, “historically important,” typically indicates that to get interpretive mileage out of the show you will need a hefty dose of background — biographical and art historical. What makes this show remarkable is that each artwork on display while indeed historically important is still able to command attention and speak for itself, background knowledge or not. That said, to spend some time and learn about each of the exhibited artists only serves to make the work all the more hard-hitting (Szapocznikow survived Nazi ghettos and concentration camps, being one example).

Fabulousity: a night you’ll never forget… or remember!

Steve Terry, the one-man show behind England’s Wild Life Press, has an uncanny knack for sniffing out and shaping into hard-hitting photobooks material that is not only marginal in its subject matter (portraits of ‘90s NYC tranny street walkers, “the club kids” of the same era) but also marginal in its original production. His books gather up what were labors of love pursued primarily for personal reasons outside any formal art-making avenue. These are photographs that sat in boxes in apartments for decades unknown to but a few.

I first met Terry in person a few weeks ago in New York. Before that we had recently worked together long-distance on a profile of the photographer Katsu Naito (the full profile will appear in volume five of our print magazine) focusing on his and Wild Life Press’ first photobook, West Side Rendezvous (2011), an intimate collection of forty-five black and white portraits of tranny sex workers taken on the streets of New York’s Meatpacking District in the early 90s. Steve was in town ahead of the NYArt Book fair to showcase his second and most recent photobook, a catalogue technically, published to coincide with the London exhibition, “Fabulousity: a night you’ll never forget… or remember!”

John McCracken: Works from 1963-2011

My knowledge of the west coast minimalist sculptor John McCracken prior to entering the museum-grade retrospective at David Zwirner’s 20th street outpost was limited to a handful of reproductions in art history books and the apocryphal story that his work had inspired the monolith in Stanley Kubrick’s 2001: A Space Odyssey. I entered the show wanting to like it, figured I wouldn’t, and left with a renewed sense of what color, form, light and mass could be in the right hands.

Holy Bible

“…and every living substance that I have made will I destroy from off the face of the earth.” Genesis {7:4}

History of human conflict is a history of religious conflict. Pick up any history textbook and you will be benumbed by death and atrocities that humans have inflicted (and continue to inflict) on each other in the name of religion.

Holy Bible, by Adam Broomberg and Oliver Chanarin (MACK, $80) literally fuses the histories of violence and religion together. The tome itself is a direct copy of the King James bible. Its text, however, is carefully overlayed with images from The Archive of Modern Conflict, an entity that collects photos whose subject is self-explanatory and that purposefully shrouds itself in mystery.