Previous Miami posts
Is Anybody Happy
Darren Almond at Galerie Max Hetzler, Berlin, Art Basel Miami Beach
Some years ago I worked at Women’s Wear Daily. The mere
sniff of a trite phrase would send the copy desk editors into a frenzy of elbow jabbing
as they mocked the writer. “Clichés? Nothing wrong with clichés; after all,
everyone uses them,” they'd say, making no effort to suppress their mirth. They’d move in close to the unsuspecting writer to offer
this advice: “You have to avoid clichés like
the plague.” Then they’d all have another good laugh and cut the bejesus out of the
writer's story.
Those editors would have had a field day (sorry, guys) with
some of what’s here. Is it the nature of text-based art that cliché often takes
precedence over poetry, irony or wit? Two galleries got it just right, I thought:
Carroll and Sons, Boston , and Charlie James, Los Angeles, with text based installations that were intentionally deadpan or funny and fresh.
I also responded to Mira Schor’s paintings, emphasis on painting; Jennifer Dalton’s wry foursome; Barbara Gallucci’s witty take on Robert Indiana’s oversold sculpture; and Darren Almond’s elegantly executed exhortation, which I took to heart as I made the rounds.
The sentiments expressed in the images are not necessarily my own.
I also responded to Mira Schor’s paintings, emphasis on painting; Jennifer Dalton’s wry foursome; Barbara Gallucci’s witty take on Robert Indiana’s oversold sculpture; and Darren Almond’s elegantly executed exhortation, which I took to heart as I made the rounds.
The sentiments expressed in the images are not necessarily my own.
Mel Bochner at Quint Contemporary, Miami Project
This guy just won't shut up:
Above: At Peter Freeman, New York and Paris, ABMB
Three below: at Two Palms New York; ABMB
Foreground: Bertrand Lavier at Galerie Hans Mayer;
background: Barbara Kruger at Mary Boone Gallery, New York City; ABMB
Robert Indiana at Paul Kasmin Gallery, New York City
Above: Barbara Gallucci
Below: Joe Zane installation; both at Carroll and Sons, Boston; Miami Project
Below: Joe Zane installation; both at Carroll and Sons, Boston; Miami Project
Alejandro Diaz at David Shelton Gallery, Houston; Miami Project
David Buckingham at Jonathan Ferrara Gallery, New Orleans; Miami Project
Tony Lewis at Shane Campbell Gallery, Chicago; NADA
Two from Roni Horn
Above: at Dranoff Fine Art, New York City; Ink
Below: at Xavier Hufkens, Brussels, ABMB
Barbara Kruger at Mary Boon Gallery, New York City; ABMB
Above: Eugenio Merino
Below: Artist unidentified, both at Birnam Wood Galleries, New York City and East Hampton; Art Miami
Above and below: Margie Schnibbe at Charlie James Gallery, Los Angeles; Aqua Art
Deborah Kass at Paul Kasmin Gallery, New York City; ABMB
Jack Pierson at Richard Gray Gallery; ABMB
Susan Jamison at Fergeson Gallery, Farmville, Virginia; Aqua Art
Rashin Johnson at James Harris Gallery, Seattle; ABMB
Michael Scoggins at ABMB; photo by Sharon Louden
William Pope. L at ABMB
Detail below
Wayne White at Western Project, Los Angeles; Miami Project
Detail below
Mira Schor at CB1 Gallery, Los Angeles, Miami Project
Tracey Emin at Lehman Maupin, New York City; ABMB
Justin Lieberman, Tibetan Pornography, at Galerie Rodolphe Janssen; ABMB
Kay Rosen, LOL, at (I think) Sikkema Jenkins; ABMB
Claire Fontaine at ABMB
Cheng Ran at Galerie Urs Meile; ABMB
Artist unidentified at Kendall Koppe, Glasgow; NADA
Michelle Andrade at Charlie James Gallery, Los Angeles; Aqua Art
Foreground: Jennifer Dalton at Charles James Gallery
Detail below
William Powhida at Charlie James Gallery
Detail below
Cary Leibowitz at Invisible Exports, New York City; NADA
Lawrence Weiner at Christina Guerra Contemporary Art; ABMB
Too good to ignore: Utility sign at ABMB
Artist unidentified Christina Grajales Gallery; Design Miami
John Giorno at White Columns, New York City; NADA
Joe Wardwell at Prole Drift, Seattle; Aqua Art
Sam Durant at Sadie Coles, London; ABMB
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Thanks for gathering these all together, Joanne. Did anything ring true to you or did it all sound trite?
ReplyDeleteMostly they sounded trite, though as I mentioned, there were a couple of galleries I liked, along with the paintings of Mira Schor and and Darren Almond's "Remember Everything." The latter had personal significancs because I was trying desperately to see everything, photograph and retain it(knee pain impingeing on my ability to do that) but also because in a world with constant streams of too much information, and high-speed access to anything we need or want to know, remembering even a fraction of what we take is a synaptic impossibility.
ReplyDeletethank you for the post, may I say 'enlightening?'
ReplyDeleteWhat? No Ruscha? sharply observed,weirdly dispiriting
ReplyDelete