One sentence art reviews
The Night Grows Long @ Margot Samel, January 19th - February 24th, 2024
Review
Slinky bodies slip into currents of unearthly color, reminiscent of James Ensor (minus the macabre) with the playfulness and malleability of the mask traded in for that of the hypnagogic world of children – slippery and innocently errotic.
Beatrice's Puppet Show @ Half Gallery, September 6th - October 4th, 2023
Review
Not your average fête galante at the local maison de plaisance, but a dreamlike bacchanal with sardine-filled, embroidered pink pumps, star-spangled blonde bombshells, and romance and ruminations both frolicsomely painted in an arabesque of coquettish art historical whispers.
Intertwined @ The New Museum, March 2 - June 4, 2023
Review
The works comprising this vast exhibition are like archaeological findings from deep within the caverns of a profuse interiority, a dream-like landscape of radical propositions, where fluidity and hybridity override the claustrophobic confines of cartesian divisions and where violent, oppressive histories face long overdue creative destruction.
Station @ François Ghebaly, April 22 - May 27, 2023
Review
With gestural swipes of perfectly calibrated colors and tones, Matt Bollinger’s subjects face their viewer with earnest directness, creating an exchange in either empathy against or implication within the failing social equation of laissez-faire economics, as if to question, “which side are you on, boys, which side are you on?”
White Meat @ JTT, April 11 - May 13, 2023
Review
With jewel-studded decay and pustuled baloney, Garner brilliantly demonstrates that beauty is never irrevocably tied to benevolence (violence has its splendor too, and tragedy its comedic twin) and that through the embrace of the abject, The Other can be twisted in-side-out, both symbolically and literally, unsettling our sense of self and the socio-historic ground it rests on.
God-Chunk: Chrono-Plex @ ASHES/ASHES, April 14 - May 21, 2023
Review
My first reaction to Moore's hanging sculptures was that these had come from the set of an episode of Star Trek: The Next Generation — pieces from a distant city, representative artifacts of a utopian aesthetic, playful and dignified at the same time — and because of this, they made me sad that I don't live in this world, but hopeful that maybe someday somebody will.