Still relevant: Mr. Peter Schjeldahl
The best bit of art writing published this March was Peter
Schjeldahl's awe inspiring take on Robert Ryman and Franz West etc
great, even brilliant with Ryman but gets Murakami wrong of course. Murakami
is uber-whoring the drama in a very professional/insidious way that makes the
drama very nihilistic. He's basically outflanking the idea starved art world
along with Schjeldahl
in the process. Why? because he has gotten a lot of credit for the last great
idea (the complete flattening of consumption and culture, best showcased at art fairs). Also, I'm enjoying
their new website design too, much better and more linkable.
Holland Carter of the New York Times points out the Locally
Organized Gravity show along with Portland's own Red 76
. Carter asks a question Ive raised before, is it all just a "feel good cosmetic gloss?" It's definitely a case by case evaluation.
Last week Richard Speer chimed in on Mel
Katz at Laura Russo and Jason Fulford at Quality Pictures
(a show I like
a lot). Fulford's show is hung in an incredibly precise but generous way that
gets over that overly controlling/precious attitude that photographers often
use as a crutch. The installation makes Fulford something more than just a good
John Motley nearly always does a good job over at the Mercury. He continues
the trend with his review of Thoughtless
at Small A
... I am a fan of Mitzi Pedersen but I thought the only good thing
in this show was Abell's three things (I cant help it I kinda love MXR distortion
pedals and feedback). Small A likes to tap-dance on the borderline between disarmingly
dry and aridly underdeveloped and this one was mostly underdeveloped. I can
say this though, Laurel doesn't overhang the bejesus out of her shows, it's
always a thoughtful space.
I liked Regina Hackett's article providing a historical survey of the Seattle
Art Museum's contemporary curators
, notice how she actually evaluates curators
on their curating? What a novel concept! Around here curators often seem to
be excuses for human interest stories, and information is published on anything
but their programmatic outlook. Needless to say PORT does care about important
matters like that, curators
aren't in it for popularity contests, instead
they serve up exhibitions to be digested, critiqued and if all goes well...
enjoyed. Press should be mostly weighted to what they do rather than their personalities.
Jen Graves added her take to the excellent Bruce
survey at The Henry in Seattle as well. That man sets a very
high bar for all those would be neon artists, every city seems to have at least
3 of them.
Of course PORT has had its own reviews this month including:
Amy Bernstein's take on the Paper
Chase at Guestroom.
I took on Adam
Sorensen's The Glows
at Liz Leach.
Arcy Douglass wrote about Jasper
Johns' seminal work Land's End
Check in tomorrow for Arcy's review of RE:
Dudes Night Out
. The show is probably the most interesting group show Ive
seen in the Pacific Northwest in the last few years (I keep thinking about it
and how challenging/satisfying it is compared all the enormous group shows which
seem forced and somewhat disrespectful towards the art in favor of art crowds).