Posts Tagged ‘Cecily Brown’

Exquisite Everywhere

Thursday, October 21st, 2010

Who turned on the Exquisite Corpse Zeitgeist? The assembled, collated, spliced, joined, and improvised leviathans are grotesquely leering and freaking out viewers in every corner of the City, and just in time for Halloween.

Pruitt

In Fort Greene, the DIY homemakers Second-Floor present A Feast of Fools. Including over sixty artists, the exhibition reinterprets the exquisite corpse as a carnivalesque bacchanal where hierarchies between body parts dissolve into a throbbing hermaphroditic mass.  This should be great; one half of Second-Floor, Sarvia Jasso, was one half of Brooklyn is Burning, dissolved after a hysteric brought down their event at PS1.

THROBBING HERMAPHRODITIC MASS
THROBBING HERMAPHRODITIC MASS
THROBBING HERMAPHRODITIC MASS

Opens Saturday, October 23 from 2-5pm @ 19 S. Oxford St. #4 and features David Abecassis, Amy Albracht, Darren Bader, Natalie Beall, Cara Benedetto, Linda Bernal, Michael Bilsborough (he sucks), Miguel Calderon, Matteo Callegari, Cammi Climaco, Catherine Czacki with Sarah Dziedzic and Merran Swartwood, N. Dash, Ariel Dill, Francesca Di Mattio with Garth Weiser, Coco Dolle, Hector Arce Espasas, Jeremy Everrett, Michele Fiedler, Robert Fontanelli, Kathryn Garcia, Kate Gilmore, James Gortner, Matt Greene, Vivienne Griffin, Pablo Guardiola, Nathan Gwyne, Gregory Hayes, Esther Klaes, Marcus Knupp, Alex Hudson, Richard Lidinsky, Kalup Linzy, Lovett/ Codagnone, Hector Madera Gonzalez, Nora Maite, Liz Magic Laser, Nadja Verena Marcin with Inbal Abergil, Jie Liang Lin, Francisco Marcial and Bill Santen, Christina McPhee, Lucas Michael, Jessica Mitrani, Juan Antonio Olivares with Alessandro Bava, Milano Chow, Alex Turgeon, Virginia Poundstone, Hugo Richard, Christopher Rivera, Rachel Rose, Georgia Sagri, Christian Sampson, Kristine Servia, Lior Shvil, Joshua Shwartz, Nick Stillman, Nanette Sullano, Jonathan Torres, Cody Trepte with Erich Bollman, Cristia Tufiño, Sebastian Vallejo, Jesse Willenbring, Michael Zahn

On Friday night, the Powerhouse Arena in DUMBO will launch The Exquisite Book with a “big PARTY and EXHIBITION” sponsored by renowned curator Stella Artois.

All 100 of the artists’ pages will be on view, hung in the connected order they appear in the book. The pieces have been created as Plywerk bamboo mounted prints and will be for sale at the exhibition.

PLYWERK BAMBOO MOUNTED
PLYWERK BAMBOO MOUNTED
PLYWERK BAMBOO MOUNTED

The book, with an intro by Dave Eggers, will also be for sale and you can meet and get your book signed by these participating artists:

Carson Ellis, Mike Perry, Deanne Cheuk, Jen Corace, Jennifer Daniel, Nigel Peake, Joe Hart, Caitlin Keegan, Nigel Peake, Mike Lowery, Katy Horan, Zach Kanin, Chris Kyung, Aaron Meshon, Leif Parsons, Arthur Jones, Laura Ljungkvist, Jonathon Rosen (SVA in the House!), Ryan Jacob Smith, Claudia Pearson, Ben Finer, Liz Zanis and the authors Julia Rothman, Jenny Volvovski and Matt Lamothe.

Friday October 22nd 6-9pm @ Powerhouse Arena, 37 Main Street.  Thanks to Julia Rothman for the tip!

Dana Schutz tops Ryan McGinness, topping Enoc Perez

And already up and running is The Exquisite Corpse Drawing Project aka the Armitage Gone! Dance Exquisite Corpse project at The Gasser Grunert Gallery, curated by titan David Salle, no stranger himself to butts and junctions.

Did you miss it at the Armory Show?  If so, then here: more than 200 internationally recognized visual artists and photographers participated and proceeds will benefit Armitage Gone! Dance, an internationally acclaimed contemporary dance company under the direction of renowned choreographer Karole Armitage.

Josephine Meckseper tops Laurie Anderson, topping Olaf Breuning, who tops Nick Mauss

INTERNATIONALLY ACCLAIMED CONTEMPORARY
INTERNATIONALLY ACCLAIMED CONTEMPORARY
INTERNATIONALLY ACCLAIMED CONTEMPORARY

This one is not for the Teabaggers, cuz it’s full of elites: Vito Acconci, Laurie Anderson, Donald Baechler, John Baldessari, Ross Bleckner, Louise Bourgeois, Cecily Brown, Sandro Chia, Francesco Clemente, Chuck Close, Will Cotton, Eric Fischl, Robert Gober, Alex Katz, Karen Kilimnik, Jeff Koons, Richard Meier, Malcolm Morley, Tom Otterness, Tony Oursler, Chloe Piene, Enoc Perez, Richard Phillips, David Salle, Dana Schutz, Andres Serrano, Joel Shapiro, Rosemarie Trockel, William Wegman, Robert Wilson and Terry Winters.

Joe Bradley, Ena Swansea, Fred Tomaselli

Dance to the New SIC

Sunday, February 28th, 2010

The Man. The Legend.

“He’s totally crazy!” an insider confided to me. “He wrote this insane book all about himself” (which said insider admits he has never read) “and gets all his friends together to read it. That’s crazy!”

But good crazy, right?

1. Adam McEwen 2. Matthew Higgs 3. Richard Phillips 4. Stefania Bortolami 5. Sean Landers

At an event produced by Art Production Fund and White Columns, an all-star roster of art world veterans read from the revised edition of Sean Landers’ SIC, originally printed as (sic) almost twenty years ago. The daisy chain of old friends read nonstop till 2am, by which time the audience had been whittled down to a few concrete devotees, who were rewarded with delicious pizza and the remnants of the vodka open bar.

(l-r) Artists Richard Phillips, John Currin; Jonathan Horowitz, Rob Pruitt

Readers included the old bachelor-pad studiomates John Currin, Richard Phillips, and brother Kevin Landers; the stately art-world incarnate Clarissa Dalrymple; former Landers dealer Andrea Rosen; new Landers dealer Friedrich Petzel; and of course, Sean Landers himself.  Rob Pruitt was lined up to read, only minutes after the signing party at nearby Gavin Brown for his new book, Pop Touched Me.  He didn’t get to read, however, as the event’s schedule required some trimming for brevity.

The Fab Forties

Star-studded? Indeed, there was even a portrait station to capture each of the shimmering pulsars participating.

White Columns' Matthew Higgs ready for his close-up

Like a teen dunking his little brother while swimming, SIC plunges its readers into the neurotic cesspools of Sean Landers’ polarized self-evaluations. His ruminations, mostly phallocentric, regularly cover masturbation, getting laid, and the shortcomings of his own anatomy.

(l) Clarissa Dalrymple and reclining Matthew Higgs; (r) Andrea Rosen

But he also circles the pithy topics of an old friend hopelessly lost in poetic misanthropy, the welcome gentrification of his neighborhood and himself as he turns 30, a revitalizing yet anticlimactic love affair in Greece, and the gradual, painful sinking of his relationship with Michelle, his girlfriend of three years at the time.  She is now his wife, but that break-up nearly pushed him over the edge.  Luckily, there is a dramatic deus-ex-machina rescue by the tender memory of Sean’s long dead sister.

(l-r) New SIC, new SIC, old (sic)

The new version of (sic) is so heavily revised that it was difficult for me to read along in my 1993 print.  But revisions might be helpful.  The 1993 version frustrated readers because of its protagonist’s recurring self-flagellation, the manic-depressive pace, and the aimless march of unresolved conflicts. But the funny parts are hysterical and the intimate candor seems touching; and doesn’t retouching the text compromise the stream-0f-conscious spontaneity that makes it so gripping?

(l-r) New SIC, new SIC, old (sic)

I love the book. But did the evening’s stream of readers dissipate into an arduous drone? Was there nothing to look at, something frustrating for an audience of visual artists? The projection cast behind the reader added nothing but scale and light. How about an accompanying slideshow? Or intermittent projections of the handwritten manuscript?

Gavin Brown, Jessica Craig-Martin; Adam McEwen, too

And did the absence of young artists participating seem to wall up Sean Landers and his peers from the great flea market of influence? This blog praises without reservation Sean Landers as a titan of 1990s art, and for some critics, he is THE FACE of that period’s slacker art. But the phalanx of mostly heterosexual 40-somethings seemed to deny the intergenerational fertility of Sean Landers’ work…

…which should be extruded through the channels of more mixed 30- and 20-somethings. Once a 90s artist, always a 90s artist? (I sure hope not! I wish there were more artists like Sean Landers.)  What will a decade with Petzel produce?