Culture: January 2005 Archives

Much madness is divinest sense at Cohan and Leslie, particularly the drawings of Mike Paré and the site specific wall drawing and other drawings by Dasha Shishkin. We first saw Mike Paré's work in a group show at ATM Gallery, and first encountered Dasha Shishkin in a group show at 5BE curated by Lital Mehr.

James Hyde at Brent Sikkema.

in words and pictures at Murray Guy. A smart group show (mostly) dealing with art incorporating texts.

Betty Woodman at Max Protetch. This show is the best work I have seen from her.

Don Doe at Oliver Kamm. Old Master-style skill applied to outrageous paintings and drawings of pirate women.

Aaron Spangler (large-scale intricate wood reliefs) and Ryan Johnson (compelling paper sculptures) at Zach Feuer.


Rueben Cox, Scaly Mountain, NC, 2004, C-print

Thank goodness for Roberta Smith. I probably would not have heard of this show without her review in today's New York Times. My favorite part (which refers to the image above):

Exhibit A is the flame-haired belle in the flowered dress, pastel boa and extravagantly painted lips who has flung herself across a patch of green cow pasture as if it were the seamless paper in Richard Avedon's studio. A half dozen oblivious cows grace the horizon.

Rueben Cox photographed drag and transgendered subjects in New York, New Orleans, Memphis, and Nashville in 2004. I have to try to get there before it closes on Saturday. It's on 17th Street in the space once occupied by Rupert Goldsworthy Marcus Ritter.

[Image from the gallery's web site]

Daria, who curated the wonderful Twilife show at Caren Golden, has just become the director of Clair Oliver Fine Art. I think that gallery just substantially increased its odds of being worth a stop. I trust this will also mean that I am unlikely to experience another ugly front desk incident at the gallery.

There is an event at Eyebeam tonight as part of their Produced at Eyebeam: Work in Process exhibition:

January 26, 6:30-8:30pm - An Evening with the Artists Please join us for an evening with the Artists in Residence exhibiting in Work in Process. Following an overview by Benjamin Weil, Eyebeam's Curatorial Chair, the public is invited for an informal tour and reception. The artists will be on hand to talk one on one about their process and their ongoing projects.

Also, on February 1st at 7pm, at the Swiss Institute, Cory Arcangel will be doing a performance. Those are always great fun, so don't miss it.

Regarding that last post, Luke Murphy should be commended for a good web site. Many people skilled in Flash create web sites which are nearly unusable, with the inability to bookmark internal pages, and a general lack of respect for those coming to an artist's site except for the gee-whiz factor of the site implementation itself.

I hate writing about shows after they are closed, but nearly a week of having the flu messed up my schedule in a big way. Happily for this artist, the Flash-based work I want to write about is available for viewing on his web site. In fact, I love that the description of the medium on the gallery checklist is "file on disk." I'm illustrating with stills from James.

Luke Murphy Cascade 2004 file on disk, (slow-shutter) still from installation projection

The first work, titled Cascade, uses an algorithm to animate and rotate the shovels of the piece, which show different images as their backgrounds within the outline of the shovel shape. The sound is also algorithmic, with different tones coming from different shovels as they hit a certain angle during rotation.

Like the other work, it is an algorithm designed so that no viewing of the work is like another. You are not merely watching some playback of the artist-designed animation.

Luke Murphy Porno Painter/Eroloop 2004 file on disk, still from installation projection

The second work, titled Porno Painter / Eroloop, animates words found in the meta tags of porn web sites. Meta tags are information inserted into the HTML code of a web page. They're meant to be read by things like search engines, not humans. Since the dawn of Google they seem to be less important than they once were, but sites that want to be found by people using search engines still use them. The version on his web site reacts to one's mouse cursor, but the version we saw at the gallery did not. The gallery version becomes quite dense at times, as you can see from James's still. The work also has an attractive electronic soundtrack designed by Murphy.

A lot of artists are working with technology and art, but I don't think that many of them pull off using the strengths of technology, such as writing a program which then generates the art (possibly in random ways like a high-tech bow to John Cage), rather than just using it as a useful animation or painting tool. I think Luke Murphy does pull off that feat. The works are engaging and beautiful, plus there is an intelligence to them that one can appreciate.

Some other people I admire who are working in a related vein include John F. Simon, Jr. and Mark Napier. Simon often creates computer works that appear as endless videos which never repeat. I have never talked with Mark about his work (I know of it through Liza Sabater who describes herself as his 'better half'), but from what I understand, many of them use algorithms to generate the painterly images visible on his site. The end result, such as a digital painting or print, becomes the artist's "product" for public consumption, not the program which created it.

Despite knowing Cory Arcangel for a while, I still don't have a feel for where his Nintendo work fits into the burn-in-exactly-what-I-want vs. algorithmic scale. Maybe that's another post.

Via Wooster Collective, a photo of "street art" in the middle of a German forest.

Must the New York Times arts page have a story on Michael Jackson molesting boys? Can't they find an "Entertainment" section for that sort of thing?


Cory's wonderful show, titled Welcome 2 my Artshow!!!!!!!!! opened tonight at Team Gallery. I did a screen capture for him of the listing on ArtCal because I wanted to make sure he saw the ads for Simon & Garfunkel music. The ads show up because Google spotted the mention of the two in the description of the Sans Simon video. Click on the thumbnail to see the whole thing.

In Cory's honor I wore my Stonehenge Consulting t-shirt.

Don't miss the other show, a collaboration with Paper Rad, which opens Saturday.

Anonymous Was A Woman has announced the 10 artists selected to receive the Foundation's ninth annual awards. The "no strings" grant of $25,000 enables women over 35, at a critical juncture in their lives or careers, to continue to grow, recover from traumatic life events, and pursue their work.

As the name implies, the nominators and those associated with the program are un-named, and artists are unaware that they are being considered for the award.

From the Floor has the details.

I should note that another recipient is the wonderful performer and playwright Carmelita Tropicana. I will never forget seeing her perform Your Kunst Is Your Waffen (Your Art Is Your Weapon). I first encountered her at Dixon Place.


Daniel Dueck
Feeling It


Lily van der Stokker

This is a show I would definitely see if I were to be in Boston in January.

Daniel Dueck & Lily van der Stokker

This page is an archive of entries in the Culture category from January 2005.

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