signed on back
Donald Moffett, at Marianne Boesky. Closed 4/7.
i didn't like his 2005 boesky show...! maybe i would like it now? or not. who knows.
Donald Moffett
He has a big show currently up at the Tang.
Showing posts with label Marianne Boesky. Show all posts
Showing posts with label Marianne Boesky. Show all posts
Saturday, April 14, 2012
Donald Moffett
signed on back
Donald Moffett, at Marianne Boesky. Closed 4/7.
i didn't like his 2005 boesky show...! maybe i would like it now? or not. who knows.
Donald Moffett
He has a big show currently up at the Tang.
Sunday, June 12, 2011
Salvatore Scarpitta
Salvatore Scarpitta, at Marianne Boesky, through 6/18.
sleds
Over There, Over Here
self-portrait. see my 10/2007 post for more info on the great scarpitta.
he built and raced cars, and exhibited them
SCARPITTA!
Monday, November 14, 2005
Chelsea visit
Went to Chelsea on Saturday hoping to see Eric Doeringer. He wasn't there but I did end up seeing a lot of good stuff; below is a partial listing. I'll continue tomorrow.
Polly Apfelbaum at D'Amelio Terras - Cartoon Garden (black and white), a 13 x 25 foot bed of individually cut, black and white cartoony flowers, looked GREAT in the slightly larger white rectangular room on the concrete floor. It reminded me of being at Ryoanji. It was PERFECT.
Nick Mauss at Daniel Reich - Some interesting-(ish) small paintings and drawings behind spindly music-stand-like tripods, but the most interesting thing was watching Daniel Reich walk in. What a weird floating walk! I couldn't take my eyes off him.
Tom Meacham at Oliver Kamm - Lots of very different small-ish paintings. No problem with the lack of consistency, but would like to feel that a little more exploration was happening. Felt a little like skimming.
Maybe they were consistent in a non-exploration of technique and content; an overall thinness - but ultimately not very satisfying.
Kerstin Bratsch at Derek Eller - Similar to the Meacham show but not quite as broad a range of techniques; a little more concentration. Each individual piece meant more.
There was a very 2D, washy, black-and-white warped canvas Russian folk-art lady painting below another black-and-white, smaller and more abstract. Good small one of a more thickly painted grey horse split down the middle by the ground, like it was impaled or perhaps a carousel horse. A good sailboat painting.
All interesting.
Ethan Greenbaum at Buia - Very much liked. My favorites were the most abstract, more sculptural ones like Person, Window, and Landscape. I think they are painted on sculpted and cobbled together pieces of foam or something. Person is a tall mustard-colored construction; part stop-sign, part hangman gallows.
The more standard-format, slightly Carrol Dunham-like one pictured below is called Employee.
Donald Moffett at Marianne Boesky - Heavily textured silver paintings in a very bright white room. They made me think of the Rudolf Stingel seen at the Tang last year (or two years ago), but not as interesting. Maybe it was the presentation - the low-key hallway hanging at the Tang was very good.
A few of these paintings had holes in the center, which I think went through the wall. Couldn't see inside, it was all blackness. Maybe I missed something? Was there more?
UPDATE 12/10/2005: Now I have seen this same paintings in Miami at Art Basel, where they looked very good. What a difference an installation makes. At Miami, there were just a few - one on the wall, one on the floor leaning against the wall - surrounded by work by other artists. Much better as individual objects, just as paintings, than that bright bright cold original installation.
Sergej Jensen at Anton Kern - Very interesting, I left this the same way I left the Matthew Monahan show here earlier this summer - not quite understanding but thinking I have seen something good. I need to go back.
This piece is called Palette Head -
The gallery also had a Matthew Monahan in the back with a bunch of David Shrigleys. EXCELLENT.
Mike Kelley, Day is Done, at Gagosian - Whoah!!! Overwhelming! This is another one that I need to go back to, so much to digest.
He has taken some old (maybe 1970's) high-school yearbook photos and re-shot the same poses with new models, and also made videos taking off from the photos. I don't know if all the yearbook photos are from the same yearbook or not but some of the characters in the videos overlap; for example, two characters from two different photos will interact in the same video.
The gallery is like a funhouse, full of music and costumes and flashing lights. I love the way he makes us move through the space. I really hope I have a chance to go back before it closes.
RELATED: Artnet's Ben Davis on Kelley's show.
Polly Apfelbaum at D'Amelio Terras - Cartoon Garden (black and white), a 13 x 25 foot bed of individually cut, black and white cartoony flowers, looked GREAT in the slightly larger white rectangular room on the concrete floor. It reminded me of being at Ryoanji. It was PERFECT.
Nick Mauss at Daniel Reich - Some interesting-(ish) small paintings and drawings behind spindly music-stand-like tripods, but the most interesting thing was watching Daniel Reich walk in. What a weird floating walk! I couldn't take my eyes off him.
Tom Meacham at Oliver Kamm - Lots of very different small-ish paintings. No problem with the lack of consistency, but would like to feel that a little more exploration was happening. Felt a little like skimming.
Maybe they were consistent in a non-exploration of technique and content; an overall thinness - but ultimately not very satisfying.
Kerstin Bratsch at Derek Eller - Similar to the Meacham show but not quite as broad a range of techniques; a little more concentration. Each individual piece meant more.
There was a very 2D, washy, black-and-white warped canvas Russian folk-art lady painting below another black-and-white, smaller and more abstract. Good small one of a more thickly painted grey horse split down the middle by the ground, like it was impaled or perhaps a carousel horse. A good sailboat painting.
All interesting.
Ethan Greenbaum at Buia - Very much liked. My favorites were the most abstract, more sculptural ones like Person, Window, and Landscape. I think they are painted on sculpted and cobbled together pieces of foam or something. Person is a tall mustard-colored construction; part stop-sign, part hangman gallows.
The more standard-format, slightly Carrol Dunham-like one pictured below is called Employee.
Donald Moffett at Marianne Boesky - Heavily textured silver paintings in a very bright white room. They made me think of the Rudolf Stingel seen at the Tang last year (or two years ago), but not as interesting. Maybe it was the presentation - the low-key hallway hanging at the Tang was very good.
A few of these paintings had holes in the center, which I think went through the wall. Couldn't see inside, it was all blackness. Maybe I missed something? Was there more?
UPDATE 12/10/2005: Now I have seen this same paintings in Miami at Art Basel, where they looked very good. What a difference an installation makes. At Miami, there were just a few - one on the wall, one on the floor leaning against the wall - surrounded by work by other artists. Much better as individual objects, just as paintings, than that bright bright cold original installation.
Sergej Jensen at Anton Kern - Very interesting, I left this the same way I left the Matthew Monahan show here earlier this summer - not quite understanding but thinking I have seen something good. I need to go back.
This piece is called Palette Head -
The gallery also had a Matthew Monahan in the back with a bunch of David Shrigleys. EXCELLENT.
Mike Kelley, Day is Done, at Gagosian - Whoah!!! Overwhelming! This is another one that I need to go back to, so much to digest.
He has taken some old (maybe 1970's) high-school yearbook photos and re-shot the same poses with new models, and also made videos taking off from the photos. I don't know if all the yearbook photos are from the same yearbook or not but some of the characters in the videos overlap; for example, two characters from two different photos will interact in the same video.
The gallery is like a funhouse, full of music and costumes and flashing lights. I love the way he makes us move through the space. I really hope I have a chance to go back before it closes.
RELATED: Artnet's Ben Davis on Kelley's show.
Friday, July 22, 2005
Chelsea
.
Visited Chelsea yesterday. I'll update this post tomorrow or Saturday with more links to the artists and some shows I don't have time to get to now.
Gagosian - Had two Alexander Calder mobiles in a big back room that I liked a lot. I was reminded of the James Hyde lecture and his idea of the mobile as "ruined genre". It would have been nice to see some of Hyde's Fallen Mobiles lying around.
Robert Miller - Leiko Ikemura's hazy oil on jute paintings of Yoshitomo Nara proportioned women. Ikemura and Nara both live somewhere in Germany, maybe they've influenced each other slightly? Something about these soaked in paintings also made me think of Marlene Dumas. The thinness? The moodiness? These seven works and the Stephen Westfall mentioned below were easily my favorite paintings of the day.
Robert Miller - Leiko Ikemura's hazy oil on jute paintings of Yoshitomo Nara proportioned women. Ikemura and Nara both live somewhere in Germany, maybe they've influenced each other slightly? Something about these soaked in paintings also made me think of Marlene Dumas. The thinness? The moodiness? These seven works and the Stephen Westfall mentioned below were easily my favorite paintings of the day.
Robert Miller also had very good paintings by Alice Neel and Milton Resnick.
Lennon, Weinberg - The Stephen Westfall painting. Dogwood is a large vertical rectangular canvas trisected by two horizontal and two vertical red bands, creating nine white squares. The white squares are each divided further by one horizontal and one vertical black line - like windowpanes. None of these bands or lines are exactly straight or match up. They're all a little off and it hurts your eyes looking at it trying to make this marks line up as they should. I saw this shortly after seeing the Good Vibrations show at McKenzie.
Here's a Jerry Saltz essay on Stephen Westfall.
McKenzie - Good Vibrations - lots of good stuff - I liked Julian Stanczak, Barbara Takenaga, and most especially the two paintings by Laura Watt.
Sonnabend - Four large landscape c-prints by Elger Esser that had an old postcard feel. Turns out that they actually are photographs of old postcards blown up big. My favorite got taken off the wall and wrapped before my eyes!
Barbara Gladstone - The Slater Bradley and Chris Burden videos. I didn't even realize this was an old (1980) Burden video until I looked at the sheet, I thought it was something new going for a trendy look. Big Wrench is an obsessive funny stalkerish video about a truck.
Nicole Klagsbrun - The seven playful Tuttle-esque pieces/interventions by Cordy Ryman. He had pipe pieces, door braces, a pink corner "ladder", and some wall painting-sculptures (Spider Star was my favorite of those).
Feigen - I liked Craig Love's small pieces best. At first I thought the Judith Linhares painting was a Dana Schutz (and here is a discussion on Edward Winkleman's comments about Schutz which mentions Linhares).
D'Amelio Terras - My favorites here were the two collages by Corin Hewitt. Really weird.
CRG - I liked Zak Prekop's small green painting best.
Monya Rowe - I was most interested in Angela Dufresne's three paintings here. She also had some bigger paintings at Lehmann Maupin but I didn't like them as much.
303 - The Shannon Oksanen portraits were too much the same but worse of the better portraits of that same gallery's Maureen Gallace.
Margaret Thatcher - friendly staff
Marianne Boesky - closed for installation but friendly staff-person who tried to get me a cup of water.
I've had enough of doodles, doodling, and doodlers and saw way way more merchandise than art. I wish I had had time to see the Helion show and Cezanne and Pisarro at MoMA.
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