Internal dissonance around constructions of the self

Result #1

is still present, for instance, in the non-places assigned to the figure of the black cat, situated as it is in the middle of the room in the middle of the room. Yet this is less a critique of the human body than a study of the language in which bodies are expressed. Within this context, it is surprising that in a word, Gutiérrezs choice of models, in which the frame seems to consist of the wall, is also a sign of being present: if she is present, it is in a sort of pon de la vivre, a post-performance in which the body is everything to Gutiérrezs present, as well as to herself.

Result #2

—how, for instance, is it possible to get over the desire for the erotic and find the identification and intimacy with art?—Maren Bruenchenhorst

Result #3

Internal dissonance around constructions of the self. His exploration of autobiography and form, as mediated by the self, as a site of vulnerability, paradox, and hostility seems to connect the members of his circle to, for better or worse, their surroundings.This retrospective, curated by Cynthia Brown, noted that both Wallace and Jay are in their early thirties and, as the shows title suggests, both have devoted much of their energy and attention to the art of this century. Jay is represented by five sculptures, each made up of several individually crafted wooden forms. (They were presented in the form of art-history boxes, an offhand gesture at the fact that Jay has repeatedly used public sculpture as an instance of formal philosophy.) Wallace, by contrast, has been working for the past decade on relatively modest scale and has produced only five, none of which were on view. His books and amorphous assemblages of found objects continue to engage in a state of nonrational transposition. His works, displayed here in space, are all rendered in polished brass and copper and look polished and collected, but they are not: The metal has been treated with a level of technical virtuosity that suggests a far more minimal aesthetic.Jay is to the gallery as the sum of Wallace and Jay is to the world. Both, in their specificity, are exercised, with extraordinary rigor, in their mutual making of language and form. Jay has no such illusions. On the contrary, he is a speculative and critical impresario, a craftsman of ideograms. His point of departure is the idea of the double, the idea of art as a mirror of society and of social legislation. In a series of nine works on paper, titled Domestic Interrogations, 1994–95, Jay seeks to convey the essential difference in the behavior of man and his relationship with women—between the self and the other, the other as the producer and producer of the self.

Result #4

that transcend any attempt to define them as identities and commit them to being a part of the larger complex of identity, it was precisely through deconstruction, where he concentrated, that the project could take root.In his first solo show in London, 12 Years, Braman brought together a range of works from his own work of the early 1990s and a new series of drawings. Initially influenced by his experiences as an artist in the early stages of the art world, Braman has since been drawn to a line of questioning, desublimation, and investigation. The recent paintings, drawn in ink and oil on canvas, are based on Munchs Golding Overflow series, 1926–31. The work represents an attempt to make art that could be understood as the work of the spirit, having been completed by two brothers in a partnership of love that was dissolved shortly before the two brothers encountered one another in the young men bedroom. The drawing, in which the figures share the same blank space, is similar to Munchs work, but Braman has elaborated upon the original memory in his own way, using images, such as a misty mountain landscape and a pair of headphones, to trace the image of the drawing onto the surface of the canvas. The result is a precarious transition between the two figures in the drawing, and between the two ways in which the original memory is experienced. The delicate fluidity of the ink drawings of the Golding Overflow series is equally reflected in the drawings, which are as elusive as the imagery they refer to. There is a romanticism that is mirrored in the dreamlike dreams of the two brothers in the paintings; theres a depth that only the memory can congeal.

Result #5

Internal dissonance around constructions of the self, although clearly, was on the surface, in any case, it had to be. And in some works, the dissonance was already there. Though Ruth Neumanisch, Phyllis Kühne, and John Baldessari have contributed several pieces in various media to this show, and there have been a few other excellent ones, these contributors are so modest that the disparity of works must be noted.And as for the counter-works—the usual gee-whiz stuff. Yes, there are some wonderful things here, including the famous lampshade, by John Baldessari, Richard Stewart, and George Ginsburg, and the giant diamond-shaped sculpture by Jannis Kounellis, which has been sculpted by Albert Tannatt and is now being installed in a baroque palace in Switzerland. And there are great sculpture and painting pieces by Glenn Ligon, and there is a particularly fine painting by Daniel Kurene which could have been done better by the fact that it was realized in a Third World country. But most of these works are embarrassingly small, and have an ungenerous quality which is easily overlooked by the fact that they are basically illustrations of sculpture in what is, after all, an art world in a hurry. And there are two exceptional paintings by John Baldessari, and a very good one by Lynne Cohen, one by Glenn Ligon, and one by John Baldessari which is better than both the paintings by both Kurene and Cohen. And a considerable sum of sculpture by Glenn Ligon, among the best that I know. John Baldessaris sculpture has never had this vitality, although it is not immediately apparent from the show. And the great sculpture by Lynne Cohen, when it is seen in its entirety it proves how little the artist is afraid to risk. She looks so good, with an almost unearthly elegance, that her subject matter is nearly always good and good.