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12.10.2013

Fair Well: C'est What?

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.


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


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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4 comments:

  1. Thanks for gathering these all together, Joanne. Did anything ring true to you or did it all sound trite?

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  2. Mostly 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.

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  3. thank you for the post, may I say 'enlightening?'

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  4. Julian Jackson1:13 AM

    What? No Ruscha? sharply observed,weirdly dispiriting

    ReplyDelete