Monday, September 1, 2014

Nicholas Buffon coming up @ Freddy, Baltimore


Dave Hickey

If you spend a little time every day, as I do, trying to figure out what’s going in the world of art and music, Leonard Meyer had a sweet little idea in the 1960’s. In an essay from that period, Meyer grants the fact that since Manet and Wagner, the cultural landscape has given birth to hundreds of styles and manners. This, Meyer suggests, gives the appearance of a narrative: a sequence of dominant styles that follow one upon the other. Meyer then observes that, even though hundreds of styles and manners have come into being, not one of them has died. There are still Situationists in Slovakia, Post-impressionists in Potsdam, and Cubists in Cuba. Given this rather obvious fact, Meyer recasts the historical narrative of art and music into an expanding delta of tributaries branching off one from the other.

These branchings and divagations create a wide delta of styles that differ from one another in increments of increasing delicacy. The apparent “history” of contemporary art history, then, is nothing more than the consequence of shifting public taste. So imagine the delta of the Mississippi illuminated by a giant swinging spotlight out in the gulf, illuminating first one style-tributary and then another, each with its own “art-history.” By this path, Meyer comes to a conclusion that he shares with many continental theorists, that “everything is always there”---that what we call art history is something more like a history of public boredom and its longing for change. This means things must change, and I like that.

Sunday, August 31, 2014

Andy Meerow: Blackberries, The Bones of One Chicken @ Bodega opens September 6th, 2014

Andy Meerow
Blackberries, The Bones of One Chicken
September 6 - October 5

"You didn't earn the knowledge for yourselves, so you don't take responsibility for it. You stood on the shoulders of geniuses to accomplish something as fast as you could, and before you even knew what you had, you patented it and packaged it." 
-Dr. Ian Malcolm, Jurassic Park, 1993

In Winter 2014, HBO premiered Doll and Em, a British comedy in which actor Emily Mortimer plays herself. Her co­star, Dolly Wells (Mortimer's best friend on and off screen) is cast as Mortimer's newly hired personal assistant. The series traffics in its own discomfort. The stressfulness of the show comes in part from the monetized friendship between it's best­ friend­ co­stars and the lavishly over­privileged Hollywood scenarios they inhabit. Yet even more, Doll and Em pulls tension from the conceptual set­up in which Mortimer, with her slant self­mimicry, becomes bisected on the uncanny line between a subject and its representation. The resultant drama unveils a universal non­truth of personhood, one which we might experience as humor.

In 1979 Tim and Nina Zagat established the first Zagat's Guide as a way to collect and correlate the experiences of restaurant diners. They began by surveying their immediate friend group. At present, hundreds of thousands of restaurant goers contribute to the reviews, which are set up on a 30­point system based on ratings for food, decor, service, and cost. The guide delivers us another sort of non­voice, that of the aggregated collective. As a piece of writing, as a work, it too feels disembodied ­ a ghost­written critique of urban excess spoken with wry detachment from its own outrage. A plate of greens is "unbearably" spicy. A bowl of noodles is "beyond."

Blackberries, The Bones of One Chicken is a show about voice.


Willie Nelson: Bubbles in my Beer

Al Freeman


Excerpt from Role Models by John Waters

Yes, Tennessee Williams was my childhood friend.  I yearned for a bad influence and Tennessee was one in the best sense of the word: joyous, alarming, sexually confusing, and dangerously funny.  I didn't quite "get" "Desire and the Black Masseur" when I read it in One Arm, but I hoped I would one day.  The thing I did know after finishing the book was that I didn't have to listen to the lies the teachers told us about society's rules.  I didn't have to worry about fitting in with a crowd I didn't want to hang out with in the first place.  No, there was another world that Tennessee Williams knew about, a universe filled with special people who didn't want to be a part of this dreary conformist life that I was told I had to join.

Saturday, August 30, 2014

"Stop Rushing Me!," 2003, Leon Golub


Katherine Bernhardt

Watermelon, Basketballs, Popsicles, and Cigs, 2014

Bacon and Eggs, 2014

Richard Hawkins & Marcel Alcala


Friday, August 29, 2014

Otto Muehl @ Maccarone opens Friday, September 12th, 2014 from 6-8pm


Adam Marnie @ 55 GANSEVOORT opens Thursday, September 4th from 7 - 9pm


September 4 - October 5, 2014
Opening Reception: Thursday, September 4th from 7:00 to 9:00pm

"Recursion" presents the most recent iteration of Marnie’s ongoing engagement with site-specific installation. Addressing the quotidian publicness of this storefront and its chopped vestibule interior, Marnie has elected to block out one side of the space with a large red work. He uses the same standard building materials repeatedly employed in the service of his interventions: inkjet prints, drywall, glue. Screws through the face of the work affix it in a mock-permanence, particular to an orthodox use of the substrate. As such, the work hovers between the surface of the wall and something hung on it. It pulsates. Centered on the wall, a border surrounds it—setting off the bulls-eye nature of the work with a precision that turns attention away from it onto the surrounding architecture. Installed to the left of the doorway, and further obscured by the clouded glass of the windows, the dead-on view that normally attends such a work is denied. Caught in a net of self-negation, the boundaries of the work are torn between expansion and collapse.

Adam Marnie (
born 1977) has shown his work in numerous New York galleries, with recent solo exhibitions at Halsey McKay (2014) and Derek Eller (2013); group exhibitions with Andrea Rosen, Know More Games and James Fuentes; and across the US: David Petersen Gallery, Minneapolis; Fourteen30 Contemporary, Portland; and Night Gallery, Los Angeles. His work has been reviewed in The New York TimesThe Brooklyn RailThe East Hampton StarLast Magazine, and Night Papers. He is also publisher and editor-in-chief of the biannual magazine F, the second issue of which is due out late this fall.

The exhibitions at 55 Gansevoort are entirely visible, at all hours, by peering through the windowed doors.

Contact: Ellie Rines; info@ellierines.com248-672-6791

Yellowman: Duppy Or Gunman

"Kodeboch," 2014, Michael Rey


Jack Bilbo @ David Zwirner, London opens Wednesday, September 3rd, 2014


Frank Sinatra


Nicholas Buffon


By Night With Torch and Spear @ Johan Berggren Gallery opens September 4th, 2014 from 5-8pm

Renaud Jerez
Veit Laurent Kurz
Stuart Middleton

Opening: September 4th, 5-8 pm
Exhibition period ends: October 4th
Gallery opening hours:
Wednesday – Friday 12-5.30 pm, Saturday 12-4 pm

Johan Berggren Gallery
Monbijougatan 17G, 211 53 Malmö, Sweden

Henry Codax @ Martos Gallery opens Friday, September 5th, 2014


September 5 - October 4, 2014

Martos Gallery is pleased to present a solo show of monochrome paintings by Henry Codax. Working for the first time in an iridescent hue, Codax’s third show features thirteen 7 x 7 foot silver paintings that seamlessly line the walls of the gallery. The exhibition will be open to the public September 5 - October 4, 2014, with an opening reception on Friday, September 5 from 6-8 pm.

Henry Codax has exhibited in institutions both nationally and abroad including Michael Thibault Gallery, Los Angeles; Gavin Brown’s Enterprise, New York; Galerie Triple V, Paris; Office Baroque, Belgium; Carriage Trade, New York, and Galerie Susanna Kulli, Zurich. With the exception of exhibition history, there is no other biographical information known about the artist.

Martos Gallery 
540 West 29th Street
New York NY 10001


Heather Guertin: Development @ Brennan & Griffin opens Sunday, September 7th, 2014

September 7 - October 12, 2014

The Built Environment - Lower East Side in Istanbul @ Mixer opens Friday, September 19th, 2014

Anna K.E.
Carol Szymanski
Eli Ping
Erica Baum
Frank Heath
Jill Magid
Josh Tonsfeld
Joshua Abelow
Robin Cameron

curated by Kathleen Madden

Hugh Scott-Douglas: Promises to Pay in Solid Substance @ Jessica Silverman Gallery opens September 5th, 2014

Hugh Scott-Douglas
Promises to Pay in Solid Substance
September 5 - November 1, 2014
488 Ellis Street, San Francisco, CA
Opening reception: Friday, September 5, 6-8PM


"David Petersen," 2014, Joshua Abelow


Quintesa Matranga @ Either Way opens September 7th, 2014


Gene Beery: A Nice Painting Book


Chloe Wise


Christopher Knowles @ The Performing Garage TONIGHT!










"Full of emptiness," 2013, Vittorio Brodmann