Saturday, March 3, 2018
Good Pictures From Bryson Rand
Mason Saltarrelli, Thurman Munson @ Marvin Gardens
As a young child in the 80’s, I was obsessed with the Yankees, especially Yankee teams from just before I could remember baseball. I would buy baseball card team set after team set of 70’s Yankees trying to imagine the importance of Ed Figueroa or Jim Spencer and marvel at the youth of current players like Willie Randolph and Lou Piniella, but must of all I idealized the famed hard scrabble leader of the 70’s Yankees, Thurman Munson, who died in a plane crash at the height of his playing days. As much as I have liked Mason Saltarrelli’s paintings and enjoyed his more recent forays into sculpture, I am a little bitter that despite the title, his rather stylish installation of weathered wooden objects has no obvious connection to Thurman Munson.
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Lewis Stein, Works from 1968-1979 @ Essex Street
I know nothing about Lewis Stein, but I very much enjoyed his minimal and perplexing installation. It is either an overly subtle statement about urban living or a rather stark production of West Side story. The meaning hinges on how much an old billy club reminds you of systematic oppression as opposed to Officer Krukpe. Either way, the street light hung so low that one can touch it wonderfully distorts its scale. The center of the gallery is squared off in velvet rope that could be about the economic exclusivity of the city, or a reminder of the theatre and again for me at least, West Side Story.
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Lydia McCarthy, Non-Game Ecstasy @ Essex Flowers
Scott Alario, Soft Landing @ Kristen Lorello
The show also takes a step forward in marrying artistic
practice and family with three detailed hallucinatory collaged landscapes that
seem to be sourced from faded comic books by Alario and his wife Marguerite
Keyes.
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Torbjørn Rødland, First Abduction Attempt and Other Photographs @ Galerie Eva Presenhuber
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Stephen Shore @ MoMA
As I get older, the more and more fascinated I am about what
artist do in the period after making their most well-known work. When I was
younger, the idea that an artist would make a derivative of their work, over
and over again, seemed to be a betrayal, a forsaking of the inherent modernist
pact with the viewer to always move forward instead of pleasing an unseen
market for the work. But as actually becoming old ever approaches, it does
occur to me that at a certain point an artist doesn’t owe us anything. If they
make something great that they are known for and would like to spend a lot of
time after that working in a similar vein because they enjoy working that way,
then all the power to them. But the modernist narrative is always present in
the back of my head whispering: have they sold out to make a living? Have they
run out of ideas? Are they oblivious to their artistic rut?
This idea hangs heavy over the rather impressive Stephen
Shore retrospective at MOMA. The retrospective does bring out all the work one
might want to see from Stephen Shore. It starts with early street work that
lays bare the influence of Robert Frank and continues into his experimental
film work that led to meeting of Andy Warhol and Shore becoming part of the
scene around Warhol’s factory. That leads to a run of avant-garde conceptualism
that underlies his famous large format work on 70’s America. The show does a
wonderful job of displaying those early attempts, even including a complete reinstallation
of a show of vernacular photographs Shore curated along with a reinstallation
of American Surfaces as it was shown at Light Gallery in the 70’s. As a Shore
geek, the reinstallations are pretty thrilling. Hell, so is getting to see his
first experimental film in its entirety.
Which all leads to his rapturous 70’s travels across the US,
making perfect formal pictures that illustrate a bohemian experience of the
world akin to Richard Linklater at his finest. But once you’ve familiarize yourself
with the work that Shore is most known for, you are face to face with
everything that comes after it, and it is hard not to be struck by the starts
and stops, that never get going, where he takes on being a street photographer
or traditional landscape photographer, but neither produces much in the way of
a compelling body of work, just the occasional excellent picture. The only
revelation from the show about the later work is how much of it was done on
commissions. This later work is matched up with what feels like attempt to
recapture his avant-garde youth. Cut off from being part of the forefront of an
artistic movement, you get Shore seems to be awkwardly wading into self-publishing
with small bodies of repetitive work that felt dated when they first started
appearing in the early 2000’s. This continues into his current practice of
taking Instagram pictures. Both touch on American Surfaces without any of the subject
matter of more youthful adventures in the early 70’s travels.
But it occurs to me, while staring down the Mick-o-Matic
that he used to make some American Surfaces pictures, that it is hard to ask
more from Shore than what he produced in the 70’s. If he finds fulfillment in
conceptual book projects or his passable return to large format work in the
Ukraine and Israel, more power to him and especially with the Israel work, I am
not above enjoying a master covering his own hits.
Through May 28th
Curran Hatleberg @ Higher Pictures
Hatleberg is one of the most exciting young photographers
going, and his work is endlessly impressive. His art is developing at a rapid
pace. His last show at Higher Pictures was fantastic but at times felt a little
too subtle, where we were only getting the details that built this life without
any of the greater narrative. In this new work, by contrast, the narratives are
so arresting that they might even be sneaking into being stage managed. The clarity
is so pronounced that, in the best of ways, it feels too good to be true, putting
a wrinkle into the work that makes it all the more conceptually complex. My
only reservations about the current show are that some of the repetitive pictures
that give a glimpse into how the artist is composing this world and conceptually
addressing the act of storytelling are not as nearly as interesting as simply
having more images of the world Hatleberg has been able to conjure.
Good Pictures From Susan Wides
Monday, January 22, 2018
Good Pictures From Tommy Kha
Darryl Jennifer, Mind Power @ Okay Space Gallery
The Bad Brains are godhead, and for stretches, say pre-Quickness,
they were undeniably perfect. So, it is nice to see Bad Brains guitarist Darryl
Jenifer branching out into the visual arts. His paintings are graphic and
folkish with an upbeat palette that matches the Bad Brains much toted PMA. The
paintings revolve around the iconic Bad Brains Banned in DC lightning bolt and
occasional Rastafarian rocking out. The show is solid and features a selection
of early Bad Brains’ photographs by Lucian Perkins that appear in the legendary
DC hardcore book Banned in DC. AS a teen I obsessed over that book like it was
the Dead Sea scrolls that, with enough focus, could unlock the great secrets of
DC hardcore.
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