Alice Mackler’s exhibition at Kerry Schuss—18 paintings, drawings, small ceramics, and collages—has garnered quite a bit of hard-earned critical acclaim, much like her previous shows. But there’s one thing that the reviews I’ve read won’t touch with a ten-foot pole: the collages.
We’re back! It’s been a while since we’ve given you a “We Went To,” but here we are to tell you about the best and worst of what’s on view on the Upper East Side. One fact became clear on this trip: John Baldessari has made a career out of oxymorons.
Our thoughts on Venus Over Manhattan, Higher Pictures, Hauser & Wirth, Marian Goodman, and Tibor de Nagy, inside.
The Bruces might not appeal to everyone, but their work is for everyone. Regrettably, the exhibition does not show this side of the Bruces, and it doesn’t do justice to the foundation’s varied projects, the more interesting of which cannot be represented in this, or possibly any, exhibition.
Claes Oldenburg’s two-story exhibition at MoMA “The Street and the Store” is more like one big stockroom of early sixties New York City. At best, perusing the inventory, from mutilated garbage to large pastries, gives a sense of reality seeping into an Ab-Ex art world. It’s a show made for its day.
Regina Rex’s summer show Four Paintings doesn’t label itself as a curated show, but it’s one of the more well-thought out shows I’ve seen this summer. This will be the second time the collective has offered a summer show in this format; last year’s Four Paintings show was similarly phenomenal.
In the scope of New York City history, seven years isn’t much time. For the East Village art scene, though, it was a lifetime, and for artist Gordon Kurtti, it was an entire career. After a brief but bright formation in the East Village performance scene, Kurtti passed away in 1987, at age 26, of AIDS-related complications; twenty-six years later, a mini-retrospective at Participant Inc. acquaints us with his life and work. It’s an intimate memorial for Kurtti, but it’s also a story of community, and the meaning of comings and goings.
Painter Piotr Janas’s exhibition Minotaurs at Bortolami is nothing if not commanding. The unadorned exhibition space is dominated by nine simultaneously stark and organic large-scale paintings of geometry and viscera. Seeing man’s guts strung out in these form-scapes makes the message very clear: Never forget how ugly your humanity is; never pretend it’s noble.
Every once in a while an artist’s talk comes along that’s as spirited as a wild dinner party. The conversation’s good, if a little off track, but mostly, it’s the company that makes the evening worthwhile. That pretty much sums up what happened Tuesday night at the Jewish Museum’s “Dialogue and Discourse: How Is Jack Goldstein?”, a roundtable held in conjunction with the Jewish Museum’s current exhibition Jack Goldstein x 10,0000.