The exhibition Nancy Spero – initiated at the Centre Pompidou, Paris last fall and adapted for Serpentine Gallery, London this past spring – was the first major retrospective of Spero since the artist’s death in 2009. Wandering between the two, in a landscape populated by feminine bodies, hieroglyphics, and Antonin Artaud, David Berridge explores the dialogue that exists between Spero, artists of the past, poetics of the present, and artistic politics yet to be born.
Author Derek McCormack writes of artist Kim Dorland that his “ideas of nature come from horror movies. More than that: it’s like they come from watching horror movies on a VCR in a rec-room in Alberta in the 1970s…Look at his use of rhinestone eyes for owls: very macramé. Look at use of nails and string for the wolves’ teeth and drool: very string art. Look at the trees: they’re painted on wood, so that grain is visible beneath." Fanzine gets the goods, an essay from very limited edition catalogue based on a show at Mike Weiss, NY. P.S. – look for work from McCormack’s publishing house Book Bakery in the near future. All Images here courtesy of Angell Gallery, Toronto.
Reflections on Art From the Mailbox: Nickalous Typaldos’ Untitled Photo from the Jardins Des TuileriesAudrey Tran
Nickalous Typaldos’ Untitled Photo from the Jardins Des Tuileries
Taken last September in the Tuileries Gardens…
Art from the Mailbox: Kerry Flaherty’s Unicorn Spectrum
The multiples Kerry Flaherty created for Special Delivery presents the…
Bradford Nordeen traipses through his last day of NYC art fair coverage at Pulse, gets mired in the "absolute purity of vision" of the “bro” art at Scope (even if it’s coiffed dudes making rim job jokes). He finds solace in Beka Goedde’s abstract paintings at Christina Ray, and a carnival-essence at Microscope Gallery, with Nick Zed fanzines, Cindy Sherman’s visage as ex-wife on someone’s balls…later there was the "exciting retort to the Independent" group called – guess? The Dependent. Read on. Collapse. Get ready for another fair in some other cultured metropolis in this smaller & smaller world.
Day 3 sees Bradford Nordeen at Volta, The Independent and The Moving Image Fair. Standouts include Elisabeth Subrin’s film and stills at Volta amidst a lot of synchronistically not-very-original international critiques of American foreign policy, filmmaker great George Kuchar in snap shots from all over the place, and a Jack Hanley presents Martin Kaltwasser "Thunderdome-like" Saab 900, wrecked of course. I predict tomorrow Bradford writes a book at this rate. Check in again.
Bradford is keeping on keeping on, this 2nd day out defining what an Armory show is and manages to cruise the piers without getting physically nauseus (over the ostentatious moneyflow, like he did at Miami Basel a coupla years back). In fact he likes quite a lot about this day, Adrian Ghenie, Ivan Navarro, and Moyra Davey to name a few. Stayed tuned tomorrow for more.
David Berridge is: "trying to hold in mind the experience of viewing Every Day is a Good Day, the show of John Cage’s visual art, first seen at BALTIC in Newcastle last summer, and now touring the UK. Or, rather, keep some memory of the show in dialogue with the reproductions in the catalogue; hold to its distinctiveness whilst seeing it alongside Cage’s music and writing; unfold its specifics without losing sense of the contemporary. A relationship to Cage in 2011, as always, is a shifting, complex thing."
Here’s the first installment of Bradford Nordeen’s coverage of New York’s “Art Week” for Fanzine. He starts with a ‘“mini art fair” that showcases the “accessible & impressive”’ that began two days before the Armory and especially enjoys work by Audio Visual Arts (AVA). Check back on this link daily for the next few for updates, Armory, Volta…
A satellite dish is just a bundle of metal, nuts, bolts, and wire fastened together. For anyone familiar with the neighborhoods in…