Cool figures generally come from working- or middle-class backgrounds. In a secular, democratic society, they argue, cool is a sign of cultural democracy, a status that has to be earned, rather than passed down by an aristocratic elite. Mystery, steely independence, self-possession and confidence also figure into the mix.
Who’s cool? What’s cool? Thank you “social democracy”.
http://mobile.nytimes.com/2014/03/20/arts/artsspecial/in-washington-100-examples-of-the-epitome-of-cool.html?from=arts

Because… have you heard my rants on Mondrian? - Armory Show 2014-

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 Bill Jacobson, Place, 28x22 inches Archival digital pigment print 

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Nelson Leirner

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Marc Bijl, Nite Flights (after Piet Mondrian’s Victory Boogie Woogie) 2014 Epoxy, household paint 150x150 cm

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 Marc Bijl, Abstract Activism (After Piet Mondrian), 2013 Epoxy and silver paintbombs on canvas 100x100 cm

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  Charles Avery, Untitled (Boogie Woogie) 2012, card paper bronze, acrylic 80x20x40 cm

Because art history… duh - Armory Show 2014-

Need I say more? Name the original works… go!

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Chris Jordan, Gyre (after Hokusai), 2009 (2.4. million pieces of plastic) Archival digital pigment print 

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Red Grooms, Northern Lights (Edward Munch), 2013 watercolor, acrylic and ink on magazine, 20x40x10 inches

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Mike & Doug Starn, Double Renmbrandt, Gelatin silver prints, tones, ortho film, wood, adhesive, and plexiglass

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Miguel Angel Rojas

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 Laurent Grasso, Studies into the Past, oil on wood panel 

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 Laurent Grasso, Studies into the Past, oil on wood panel 

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Chris Jordan, Caps Seurat, 2011 60x90 inches archival digital print, 400,000 plastic bottles

Manolo Valdes, Perfil XII,  2013 Collage 64x46 inches

Because purple is my favorite color - Armory Show 2014 Review -

This last week was Armory Week. In the art world this is the starter course to the Spring and Summer season for upcoming openings, museum shows, fairs, fairs, fairs. I made it through only five of the innumerable fairs around the city and now I will recap with several posts. We’ll start easy… favorite colors, historical references, design, conceptual and ars gratia artis. Breath.

Robert Mosse, It Was A Pleasure Then, 2014 Digital C-Print 110x140 Inches 

Vik Muniz, Colonies: LIver cell pattern 1, 2014 Digital C-Print 180x180cm

Chris Martin, Joshua Tree, 2012-2013 Oil and glitter on canvas 223.5x195.6cm

Stephan Balkenhol, Man in pink shirt, 2012 Poplar wood painted 289x65x5 cm 

Frank Stella, Untitled, 1959 Oil & enamel on unstretched canvas 16x12 inches

Carlos Cruz-Diez, Physichromie 1819, 2013 Chromograph on PVC 100x100 cm

Gerhard Richter, Abdallah, 2010 Enamel behind glass 18x16cm

Raymond Jonson, City Forces, 1932 Oil on canvas, 37x68 inches

Emil Bisttram, Pulsation, 1938, Oil on canvas, 60x45 inches

Julian Martin, Untitled, 2012 Pastel on paper, 14x11 inches

Lynda Benglis, Aquanot #27, 1980 Tempera and charcoal on cast paper 49x35x6 inches

Thornton Dial, Master of Space, 2004 Neckties, rope, carpet, artificial flowers, soil, tin, oil, enamel, spray paint 84x108 inches

Tom Wesselmann, Night Time Still Life with Blond and Goldfish, 1999 Oil on canvas 20x25 inches

Juan Usle, Sueno de Salomon, 1, 2008 Acrylic on canvas on wood 

Michael Craig-Martin, Objects of our time, 2014 screenprints

Tsuyoshi Maekawa, Oil on canvas, 1963 163x132 cm

Donald Judd, 1992-1993 Woodcut, 23x30inches

Dan Walsh, Folio B, 2010 Intaglio print 12x12 Inches

Anoka Faruqee, 2013P-74 Circle, 2013 Acrylic on linen, 45x45 inch

Jin Feng, Socialist Leaders: from Marx to Mao, Oil Painting 2013

James Krone, Ceremonial Painting, oil on canvas 2013

Jose Davila, Untitled Cowboy Ravine, 2013 Archival Pigment Print

Xu Zhen, Under Heaver-2802CF3312, Oil on canvas, aluminium, 2013 60x80x11xm 2013

Xu Qu, Route Orange & Purple, Acrylic on canvas 158x150cm 2013

HC Berg, Visual Vortex Dissonance, 2013 Acrylic plastic

 AAron Young

Jason Martin, Breijinho, 2012 Pure pigment on aluminium 

Shinique Smith, When Shadows Fall, 2014 Acrylic, ink, fabric, and collage on canvas, 84x60x3 inches

Airan Kang #armoryshow14 (at The Armory Show)

Germaine Kruip, Counter Movement #indy2014 (at Independent)

Be intent on action,
Not on the fruits of action;
Avoid attraction to the fruits
And attachment to inaction!

Perform actions, firm in discipline,
Relinquishing attachment;
Be impartial to failure and success—-
This equanimity is called discipline.

The Bhagavad-Gita

A couple weeks ago when I asked a gallery girl what her thoughts were on the current Richard Serra work at Gagosian Gallery she said… it’s boring, it’s been done. I had not seen the work so offering an agreeable (or countering) opinion would only be a waste of my time. Frankly, I expected a thoughtful response from an art connoisseur but in all fairness this was at a dance party during an attempt to chat.  

After visiting, an over thoughtful response:

The Gagosian space on 24th Street is meant for massive installations,  the entrance invites you to self guide right or left, each side opening up into warehouse gallery. 

I think only appropriate to acknowledge the space, the space of a gallery as opposed to a museum or the outside. Considering that Serra’s works are encountered in all these spaces —- and in each space exclaim their sculptural prowess. 

En plein air, the iron slates stand without constrictions. With enough room around the work it might blend into the surrounding architecture or stand without menace. In a gallery, the structures invade the space and obstructs your experience as you walk through it. (Note that this can also be true at a museum but at this point the work no longer stands alone, it carries institutional and educational jargon, labels, and expectations.) 

In the gallery,  the work stands alone. For Serra, quite literally, 7 Plates, 6 Angles of weatherproof steel create a jagged path across the site. The steel slab towers above about a meter and a half, walking along side it the surface reveals imperfections. Texture and color variations add a sense of stillness, each area is different and guides you across the surface. Walk into the angles, feel the steel plates meet with you at the center, they can hold you in place, a backbone or they can crush you, enclose you in a steel case. 

In the next space, Intervals, a graveyard of stales. They vary slightly in length and height, stand one behind the other. It’s reminiscent of a cemetery, a set of dominos, but to me a reminder of the The Memorial to the Murdered Jews of Europe. Walking through it you are engulfed into the massive quality of each slab of cold steel. Not surprising, each side appears to have gestures of running water. Side landscapes that catch your eye as you walk past. 

A sense of lost space, invaded surroundings, and the art of weathered steel have only been done by Serra, each time a different experience to be appreciated. 

   

THE GAP by Ira Glass from frohlocke on Vimeo.

I heard this about three years ago, now here it is again! 

"For the first couple years you make stuff, it’s just not that good. It’s trying to be good, it has potential, but it’s not. But your taste, the thing that got you into the game, is still killer. And your taste is why your work disappoints you. A lot of people never get past this phase, they quit."

"Don’t quit" —- I’ve heard this a lot but somehow Ira’s sexy voice make it more memorable. 

As far as I can make out, edgy occurs when middlebrow, middle-aged profiteers are looking to suck the energy — not to mention the spending money — out of the “youth culture.” So they come up with this fake concept of seeming to be dangerous when every move they make is the result of market research and a corporate master plan.
Daria Morgendorffer (via sayitaintsho)

(via goblinsandgoulash)

Hola! My name is Eva Mayha, flower child and tea drinker since birth. Exploring NYC, lurking in museums, rocking out in the art world.

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