The Game Ready book itself is mostly blank with an occasional repeated (or maybe subtly shifting) circular image, which is a nice object as always, but I'm more amused by the way this installation plays with the perceptions of "can I touch the art or not" by making the book barely accessible (I probably wouldn't have touched it if the gallerist hadn't shown that I could). The press release is text appropriated from a brand of compression wraps called, naturally, Game Ready. In the first instance it was a letterpress printed book held on a burl wood holder, now the book and holder are ensconced in a sort of display case made out of what looks like a matte black computer casing and panes of glass, plus there's a Yeti cooler on the ground with shipping labels still attached and seven copies of his book Nested Meridians inside. Anyway, the show is a restaging of a piece from 2019, then called Game Ready, now The Game Ready. It's probably not an exaggeration to say that the curation and documentation work he did with the Ian Hamilton Finlay collection at Reed College changed the course of my life. One, a one-piece-per-week show can't be held to normal standards, especially if you're not seeing every iteration and evaluating it as a whole, two, Flint's work is adamantly dedicated to the opacity of meaning and artistic experience, and three, Yale Union, the arts space co-founded by Flint, singlehandedly got me into contemporary art, so it's probably impossible to divorce his work from its outsized and formative influence on my own perspective. This is hard to evaluate for a number of reasons. I have trouble looking at these and seeing anything other than the exertion that went into them, and I'm not interested in labor for its own sake.įlint Jamison - Sequence 9: one work, one week. Again, as usual, a virtuosic painter has put their nose to the grindstone and hoped that focusing on technique will lead them to resolve the problems that come from focusing on technique to the neglect of painting's more abstract, and fundamental, formal qualities. sell) paintings? The garish-but-intentional use of clashing colors for highlights and shading are a savvy move, but it only feels like a continuation of that sense of self-conscious wrongness. That's the real problem of conventional painting now anyway: How do you land on a subject that doesn't feel like an arbitrary excuse to make (i.e. The series of menacing bald men in wifebeaters in biblical, casual, or degenerate situations (plus a baby, Jesus, and a woman for good measure) is an allusion to the idea of formal exploration of a theme, but it functions as little more than a pretext for making a series. Like most technical painters who try to flaunt their self-awareness that being a technical painter is "wrong" in the 2020s, she's trying too hard. Georgia Gardner Gray - He Bombs - Reena Spaulings - **.5 I'm not particularly attracted to his usual idiom that attempts an uneasy marriage of a "nerdy black teen" vernacular with contemporary painting moves, but these are almost a pure regression to sketchbook doodles. Omari's one in the back is good for its abstraction by means of palimpsest and the inclusion of a miniature copy of Lukas' painting that hangs to the left of it, but his other three cartoon figures are far less adventurous. It might not feel that way if he wasn't splitting the space with someone else and had more work up, who knows. Lukas is still good, but the range he had on display in his last show feels less expansive with these four, even though I do like the new weird running figure(?). Omari Douglin & Lukas Quietzsch - Scam Likely - Ramiken - *** Theodor Adorno - Aesthetic Theory - *****Īndrea Fraser: Collected Interviews 1990-2018 1Įmily Segal - Mercury Retrograde (The Question of Coolness) Gerhard Richter Marian Goodman & Lise Soskolne Svetlana, Park McArthur Essex Street, The Cleaners of Mars Reena Spaulings - Addendum: Notes on Psychedelic ArtĬoncerning Superfluities Essex Street vs. Isa Genzken Galerie Buchholz, Art Club2000 Artists Space, Jef Geys Essex Street In Search of the Worst Painting on the Lower East Side The Manhattan Art Christmas Movie Review Special: Notes on Eyes Wide Shut Paul McCarthy and the Negative Sublime, Paul McCarthy Hauser & Wirth The Aesthetics of the Refusal of Aesthetics, Sara Deraedt Essex Street (2016) The Rules of Appropriation Liz Magor, For Example, Liz Magor Andrew Kreps The Manhattan Art Review's Best & Worst Art Shows of 2021Ī Response to Eric Schmid's Press Release for Henry Fool Triest Why Does The Whitney Biennial Suck So Much? The Painter's New Tools Nahmad Contemporary, Manhattan Claude Balls Int The Manhattan Art Review's Best & Worst Art Shows of 2022 It's Pablo-Matic: Picasso According to Hannah Gadsby Brooklyn Museum
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