Martin Puryear: The Heights
The Martin Puryear retrospective at MoMA (11 West 53rd St., to Jan. 14, 2008) presents a panoply of engaging sculptures. The large-scale pieces in the second-floor atrium conquer that unfriendly, gigantic-broom-closet space.
Miraculously, the suspended 36-foot Ladder for Booker T. Washington (1996) and the slender 63-foot stalk of the wheeled Ad Astra (2007) conquer the architectural mistake.
Alan Shields Returns; Glitter Can Be Gold
Alan Shields (1944-2005) is one of those artists who disappeared.
My theory is that the search for viable products during a hot art market is not only fueling the cradle-robbing of M.F.A. candidates, but also causing some exhumations.
We shouldn't leave art resurrections to the needs of the quixotic art market, now controlled by collector-dealers and their ilk. Couldn't at least one major New York museum include exhibitions of underappreciated artists who deserve a second look?
A video at the opening with commentary by that NYC Guy on the Bike, artist and critic James Kalm, whose essays have been touted at Sharkforum before. As this short video is described on his youtube site, " Kalm makes his way to Chelsea to view the latest exhibition of David Reed. With a reputation in the New York Painting community that stretches back to the late sixties, David Reed continues to befuddle the public with his mysterious technical prowess and provocative conceptual approach to the medium of paint. Featuring a cameo appearance by David Humphrey." Click and enjoy. You can check out more of his videos at http://www.youtube.com/user/jameskalm .
Joshua Corey is the author of two full-length volumes of poetry, Selah
(Barrow Street Press, 2003) and Fourier Series (Spineless Books, 2005),
along with two chapbooks, Compostition Marble (Pavement Saw Press,
2006) and the forthcoming Hope & Anchor (Noemi Press). He lives in
Evanston, Illinois, where he and his wife Emily Grayson are expecting
their first child; keeps a blog, Cahiers de Corey; and is an assistant professor of English at Lake Forest College.
Your Anatomy For Shame, It Is Form
We were songs. We were throats made from song.
We were skulls wearing caps of aluminum foil.
We were a flapped cadaver and the doctor's waistcoat.
Josh Smith: does it look good, have any kind of real visual presence? Can he even paint? Is there any noticable rigor? As actual paintings devoid of art market hype are these things worth a shit? Of course not! But these trifles hardly matter, what matters, is SAATCHI BOUGHT ONE!
I’d like to introduce a new term for a recent trend in Consensus Correct painting: Feeble Painting.
Actually, I already have been using it for a short while in my Art History classes when describing one current tendency. While discussing this with the Shark, he volunteered to help me delineate it and present it to a wider audience. We debated the idea in depth and here is the elucidation.