Holland Cotter on Else at Tilton Gallery.
Art in Review – At the Tilton Gallery, Works by Noel Anderson and Others – NYTimes.com.
Category: criticism
Metheny on G
Pat Metheny on Kenny G. A critique on artistic practice, by way of, internet comedy.
The invisible dragon re…
Dave Hickey revised and expanded his book ‘The Invisible Dragon: Essays on Beauty”, published back in april. Gean Moreno reviewed it at fanzine.
Miami Bourbaki
Alfredo Triff’s new blog.; it features a review of You Were Always there with Us.
Brett Sokol’s “Three Miamians in the Whitney…”
The article is here
Being tapped for New York’s Whitney Museum Biennial — a sweeping survey of ”where American art stands today” — isn’t an instant ticket to art-world fame and fortune. But it is the next best thing. Just ask Miamians Hernan Bas, Dara Friedman, Luis Gispert and Mark Handforth, all of whom saw their international profiles, as well as their artwork’s price tags, soar in the wake of their inclusion in Biennials over the past decade.
The trend should no doubt continue for this year’s selectees: William Cordova, Adler Guerrier and Bert Rodriguez. Three is a record number for Miami, more than any other burg outside New York and Los Angeles. And for those seeking a quick indicator of this city’s post-Art Basel status, it’s a sea change from the 1980s and ’90s, when the only South Floridians to receive the Biennial’s curatorial nod were (posthumously) Carlos Alfonzo and Felix Gonzalez-Torres.
And another quote:
… Adler Guerrier’s untitled (BLCK — We wear the mask) mines the same turbulent era of U.S. history as Cordova’s piece but to a much more engrossing — and poignant — effect. Guerrier wondered why there hadn’t been a forceful artistic response to the 1968 riot that tore through Liberty City. So he created BLCK, a fictional art collective whose faux-vintage posters and sculptures sprawl across a wall while an old TV set plays news footage of civil-rights marches being superseded by Black Power protests. Hampton appears onscreen, as does Mark Rudd, one of the prominent Anglo radicals Hampton dismissed as a ”masochist” for courting violence.
Guerrier is just as conflicted by such dueling impulses, and he quotes and riffs on the period’s insurrectionary slogans in BLCK’s placards even as he ultimately rejects them in favor of a more nuanced strategy.
The Topic Is Race; the Art Is Fearless by Holland Cotter
some whitney biennial press
KH has posted and commented on some of the whitney biennial press. Here are some links.
Jerry Saltz for the New Yorker magazine.
Carly Berwick for the New York magazine.
Leslie Camhi for the Village Voice.
Holland Cotter for the New York Times.
Peter Schjeldahl for the New Yorker.
Claudia La Rocco for wnyc news.
Simon Houpt for the Globe and Mail.
Alexandra Peers for Conde Nast’s Portfolio.com.
And one about/of Bert Rodriguez.
Herald on the Cintas
Tom Austin wrote about the Cintas award and exhibition. Of the exhibition at the Frost Museum, Austin wrote “the quality of the work is wildly uneven.” He stated, in reference to Maria Martinez-Canas, “Hers is easily the best work in this year’s Cintas finalists’ exhibition.” And “Moreno’s work,…, has grown into something more complicated and visceral.”
The article’s statements in regards to Leyden Rodriguez-Casanova:
“Leyden Rodriguez-Casanova’s Two Sectionals Creating Closure may be too simple: The artist — who has previously created such pieces as A Gated Space for One, slabs of ornamental powder-coated aluminum welded together to form a conceptual cage — bought two stupendously mediocre imitation leather sectionals at El Dorado and simply pushed them together. Rodriguez-Casanova, who attended the New World School of the Arts in 1994 and ’95, is from Westwood Lakes in southwest Miami. He concedes that Two Sectionals didn’t require ”a lot of process,” but points out the bigger picture: “It’s a comment on my personal nostalgia, the life of the suburbs. And also a dialogue with the viewer about the importance society attaches to working class objects, and why the efforts of the working class are not as valued as the work of others.”
There has been a discussion, here at TNFH Central, about the recent works of LRC. Though, it has not concluded; we have come to perceive the recent works by LRC haven’t always deliver its intended poetics. I believe the systems and rules used by LRC to form and generate works are sound and conceptually attractive. But in the final hours of the executions of works like Two Sectionals, I believe LRC allows Duchampian readymades to overly influence the works. By that I mean the idea that readymades are simply found and are coupled and are exhibited. This is in contrast to Rauschenberg’s and Johns’s brand of readymades, in which objects are manipulalted , abstracted and shaped into a work.
Two Sectionals Creating Closure is a very poetic phrase. For one thing, I think of the ying-yang. Another thought is of matrimonial unity. One can go on…