Camille Rose Garcia’s second solo exhibition at Jonathan LeVine, “Ambien Somnambulants,” just might be the perfect exhibition for adults who like their fairy tales served with a hefty dose of quasi-nihilistic sociopolitical observations.
Keith Tyson’s art is powered by the hidden forces that govern creation, whether that of an artist in the studio or of the universe at large. In “Fractal Dice,” his current show at Pace Wildenstein, he grapples with the former, with results radically different from last year’s more cosmologically-minded “Large Field Array.” While the prior show presented a visually dense, symbolism-laden grid of 230 slickly-fabricated figural sculptures in an homage to the myriad ways we strive to make sense of reality, “Fractal Dice” is an austere, aloof meditation on art as process.
Mike Cloud characterizes his work as systematic painting, yet it looks more like the product of obsessive thrift store bricolage than the dry, inert products one usually associates with that term. In the recent work on display in “Agreement & Subjectivity” at Max Protetch, he puts the techniques of artistic and commercial screenprinting through a conceptual wringer, resulting in pieces that evoke the splatter and raggedness of Oldenberg’s soft sculptures or Rauschenberg’s Bed at the same time they stir up a desire to create wistful or haunting narratives explaining their odd symbolic flourishes.
Come one, come all and behold a real, live art movement, right now, in the 21st century!
It’s hard to believe that in the age of fissures and post-post modern indecisiveness, a cohesive art movement exists. The idea seems to belong in a sideshow theater, as an anomaly or a relic of the past, but there is proof at the Laguna Art Museum that the practice is not yet extinct.
As an artist whose work explores, in myriad mediums, an interest in “how sound is visualized,” Christian Marclay now seems newly compelled by how sound can be eulogized. For his current show at Paula Cooper Gallery in Chelsea, Marclay has created a group of large cyanotypes that act as gravestone etchings of popular music’s essentially moribund medium: the cassette tape.
Cut paper art has an immense history, going back as far as the 6th century in China and the 16th century in the West, yet despite its long existence stylistic developments have been rare. Even today, most papercutting tends to fall into two dusty categories: geometric decoration and bland narrative.