Play, adventure, searching, findig out, failure, to adapt, learning, going on, progression
, and eventual maturity. One might think that these were just some of the things left to chance in this open-ended, unobtrusive, and almost minimalist installation. But, for the most part, these concepts were overlooked and, in fact, presented as if they were only tangential or incidental to the rest of the work. This is an unfortunate strategy, as it reveals the fact that in the 21st century art has reached a point where the search for meaning, for the roots of expression, is no longer directed solely at the realm of the individual. The result of such searching is the increasing dominance of nonartist artists. It is not a coincidence that the art worlds newest generation of artists is now, in the words of the critic Peter Berliner, looking to the outside world for information and synthesizing it. The past decade has seen an increasing demand for art that is not only new, but also timeless, if not completely new, yet not merely conceptual.
Play, adventure, searching, findig out, failure, to adapt, learning, going on, progression. He has been a success in his previous shows, with relatively few exceptions. This time he showed a series of small oil paintings and a large number of drawings, a few of which were already in the Carnegie Collection. The drawings were closely related to the paintings and had similar themes. Some were crude drawings with small lines of white paint, others were high-key black and white. One was the King Kong, a king-kong, and another was a picturesque scene of some peasants climbing over a huge pile of corn. They are all kinds of good fun, and a lot of fun to look at, since they are not so much the work of a bad draftsman as they are the work of a good colorist and an excellent colorist.The large oil paintings are also close to the paintings, but they are much less colorful and are smaller in size, and they lack the depth of field, the area of space, and the range of shapes and textures that the drawings have. They are rather like the work of a bad colorist, with a bit of the spontaneity that characterizes a good painter. The paint is more solid, but it is smooth, and it is so light and easy to touch. The colors are also a bit more hard-edge, and they are more defined, but they are not as brilliant. The brushwork is loose and careless, and it is quite easy to make mistakes, and it is easy to forget that they are mistakes. The drawings are somewhat more successful. They are a bit more defined and an area of space has been left free for the action. They have a more defined, more open feeling, which is reflected in their visual presentation. The paintings, however, are not as successful. The brushwork is loose, and it is easy to make mistakes. They are not as refined, the colors are not as bright, and the paint is very hard to get a grip on.
, we see, and find, of a childs face. For his latest installation, he looked to his childhood friends for inspiration. The result, The Artist as Social Cone, was a kind of mini-comic book, a mini-history of the artists family, a story told in a small yet vivid style, with photographs and letters and notes. The key to the exhibition was a group of drawings that the artist had made in collaboration with the artist son, who had carried the book around with him everywhere. The story is told in a series of drawings, one of which shows the artist trying to draw a picture with his own finger; the story ends with a photograph of his father placing the book in the artists hand, but he didnt recognize the book. The drawing shows the artists mother wearing a white dress and a blue skirt, standing with her right hand in a gesture that is still defiant. The series of drawings shows the artists mother and her son engaged in conversation; she is talking to the artist, who is still making drawings. The intimacy of the intimacy, the closeness of the image, is present in these drawings. The drawings show the artist and the artist-son with each other, a photograph of the artist holding the book, and a drawing of the artist and the artist-son at the same time. As the story progresses, the intimacy of the intimate exchange between the two becomes more and more a part of the narrative, and the artist becomes more and more aware of his relationship to his son and the artist. The drawings are the simplest in the installation; they are also the most revealing, with the artist often trying to guess what he saw in the drawings. The sketches reveal that the story of the drawing is more than just an act of recognition.
, to adapt, to learn. In her performance Play is a process that takes place in a world that is sometimes hidden behind a curtain, and sometimes one does not see it at all. The artist uses a language that is commonly understood to be the language of the unconscious. In this work, she uses it to present a scenario that is a journey of discovery in which the viewer is constantly looking at his/her own life and at the world.It is a journey that is sometimes interrupted by a monster or two, but these are just reflections on the journey itself. There is no beginning or end. There are stops and stops. The audience is always connected to the journey. The world is not fixed in place. It is always changing. The journey is never complete. The journey is never to be completed. It is always to be interrupted. The journey is always to be repeated. The journey is never finished. The journey is always to be interrupted. The journey is always to be continued. In this work, we see the place where the unconscious meets the world. It is not a place of separation, but rather a place of interpenetration, where the journey begins. The journey is always interrupted. This is the journey of the artist.
Play, adventure, searching, findig out, failure, to adapt, learning, going on, progression, finding connections, painting, self-defeat, the process of growth, the process of discovery. The forms of the individual works that were on display were diverse, ranging from the relatively clean and almost stylized over the top of the wall to the often messy, personal, and often intimate work that involved juxtaposing disparate elements and process-oriented approaches.The first piece one encountered was The Fissure, 2014, a five-channel video installation made with the artist himself. In this piece, a series of objects were placed in an abandoned building in the city of Rome, then placed in a semi-darkroom in an abandoned building with other discarded materials, and then relocated to another abandoned building in Rome, this time with an all-new facade. The artist, dressed in black, moved through this maze of debris, using the light of the camera and the weight of his body to form a perfectly formed shadow on the walls and the floor. The image is a portrait of a black male figure, standing with his hands on his hips and a hand cupped to his mouth, seemingly ready to be made into a shadow. For several moments, he is seen from the waist up, his arms and legs pointed toward the camera, revealing his face as if frozen in a mirror. He leans against a heavy post, some books in front of him, and at times reaches up to a sign hung on the wall. When the viewer reaches the right wall, however, the head, hand, and face disappear, leaving only the shadow, and then the building itself.The video End of Time, 2014, shows a man in a T-shirt and shorts standing for the camera. He moves forward, his body flaring into a figure of considerable height and girth, which he pulls down as if in a trance. The image is a black-and-white head shot of the artist, but with the taunts of a taunting face: A very angry man.