Not a bad eclectic group show. It features a nice minimalist
sculpture by Hermes Payrhuber of two dark-stained wood planks with an
improbable bend that looked like a yet to be installed shelving unit from Gattaca.
The piece’s sleek, dark, cool looking boards lean against the wall with an
intentional casualness, which went wonderfully with my favorite piece in the
show, Gina Dawson’s fantastic wood plank covered in a blossoming spring field,
made by hand out of paper (in full disclosure, I along with other friends helped
cut the paper that was then hand-crafted into flowers and grass). As impressive
as the craft is, the act of covering the board leaning against a wall was an
aggressive step in transforming the masculine seventies performance art of Vito
Acconci, Chris Burden, or Techching Hsieh that lives on as contrasty
photographs, into a colorful field of hand-made flowers, a craft that I would
imagine has some lineage in the hobbies of older women. Dawson managed to repurpose
masculine avant-garde work with a traditional feminine craft art to make
performative craft art, a genre of art unto herself (I am gonna ignore
Forcefields macramé outfits at the Whitney Biannual). I also liked the
photograph of a naked woman in an empty field bent over a horse by Benjy
Russell & Rya Kleinpeter. The picture may have been aver-the-top, but once
attractive, naked women get into the artistic mix, I start to question my
judgment, so I think it was good, but I am not entirely sure.
Through Apr. 27th
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