Tal R @Zach Feuer530 West 24th StreetNew York, NY 10011
I found this show soffocating and totally unpleasant to be around......in the same way that Lari Pittman does.
40 yr old male elizabeth murray. i dont hate it.
Yeah painter,I saw this show last week and thought it’s probably one of the best painting shows of the season. I’ve got some problems with the palette, (pink, red, brown black white, yellow and green) but the press release said he’d decided to limit it for some personal discipline reason for the last two years. For folks who like goobby paint handling, whimsical subject matter and straight ahead fun painting (with out all the psychoanalysis, political correctness and Neo-Surrealism) you should check this out. It’s also refreshing to see what’s popular once you get outside the NYC, group think, taste police, bubble. Have at it bashers!
Is this guy politically incorrect? How? (Or did KJ just want to get that dig in for the hundredth time. zzzzz)
This guy ain’t politically incorrect, he just not flogging that cliché like sooooo many local folks. Make it 101 times and counting Comandante.
Yer boring me, Rush
Boring people get boared.
smart people get even more bored
closeuup, You're too much.I still like these paintings, check em out.
I enjoyed this show on a very visceral level. I guess then it makes sense that the work seems to be about art-making itself as well as pre-existing art practices from the past. It's not a subject, personally, that I think needs to be primarily addressed in art today, but that being said, I think he does it very originally and beautifully. His last show had more variety- maybe he wanted to focus in on a set of parameters for this show? It's like he turned one painting from his last NYC show into 5 or 6. I don't know if that kind of focus is really beneficial to the type of cobbled-together work he does. Regardless, I look forward to seeing more.
I think this kind of work needs to be seen in person. Well, everything does, but some things can be commented on regardless. This one seems really surface oriented. I want to say I'd feel like I'm in the Paul Klee room at SFMOMA looking at the patterns, but I'm not sure it'd hold up to that level of coolness.By cool, I mean having a sense of surrendering to the unknown.
I went and saw this show last weekend. I like these paintings. They're fun. He's having fun making it. Theres some historical awareness in it. Theres some globalism going on. Its totally not mainstream. I see Alfred Jensen. Basquiat. Expressionist and childlike. Making it. Having fun while your making it. Staying in touch with the history and adding to it.
I like that comment about the palette. Its fuking gnar - red and green and yellow. thats tough. but hell, why not? make it burn man. make it burn
All those rythms...What kind of music is it?
There was certainly alot of pissing and moaning in the post below.Basically it would be inaccurate for everyone to follow some aesthetical guidlines for posting here.I don't care if people are bitter or not. I'm not around and i don't get to see the shows. I enjoy all of the criticism that happens here. I even try to partake in some of it and i'm not bitter about my position in life. To just hear the good shit about the work would not help me at all. It would be so backwards and feel like some of the coddling that must go on in some undergrad programs. I've never been one for that as i would rather be beaten if one feels so inclined. This way the truth is out. Beat up every artist here if you want and the rest of you can read between the lines..
to comment on the painting i say,what a great dirty bastard this guy is.Sure this is along the same lines as alot of other work of the past but what isn't. Interpretation. What really changes? Paint doesn't need the same agenda,.. gets one nowhere. Personal, dirty, i like. This reads as doodling to me. I'm strangely attracted to his color choice and flat rendering in this and earlier work.
Pretty crowded, oppressively crazy mixed up hard lines that somehow off-hand resembles Jackson Pollock 'Male and Female', squeezed up tapped down into the square format. Though I doubt Tal R knows too much about that guy--Spanish no!. Prefer the lighter more open work but there is nothing fey going on here. You like it or you don't.I wonder what television show Tal R was watching when he decided to start this...any ideas?Keeping on the pollock drift...Easter and the Totem is nice and open and looks more today, NYC, in line, graceful, sharp and distinctive, competitive with what's out there. Terrible title--what!... the only thing that tells its age. Hope the weather's fine where you are--here it's racing blue skies 'absentee the flame'. BTW I love the fights. Generally I just try to remember there is some person standing behind one of these jpegs, and behind one of the anons., well most times.
Its funny that kj likes this show, I kinda wouldve thought he'd be a naysayer. Thing is, viewing this work, I actually had a 50 yearold person reaction (im in my 20s) as it seemed a little too ironic in its arthistorical touches. Maybe that was because I confused him with J meese for some reason, so my initial reaction was an erroneous association. Some of his early work, though, is quite impressive even if one isnt ready to buy the faux naive baggage that comes with it. Those ball point pen drawings on Saatchi's site, if I remember right, were quite inventive in form. This show reminded me not of Elizabeth Murray but of European artists such as Asger Jorn and A.R. Penck. I'm curious about the older artists reaction to a younger dude reviving neo expressionism, which itself was a reviving of german expressionism and late picasso(theres the murray connection I guess). Why does he get a free pass? Is his practice honest at face value?(that question came with this show mostly). Does his continued pursuit in this established line of work somehow flatter older stuff;like a 'keep up the fight' kinda sentiment? just curioushey Brent.. yeah I see the early Pollock glance too; I'm sure hes familiar with that....the emotional and mental feeling in this seems more late picasso via Dubuffet than anguished early Pollock however. I know many people hate that early Pollock shit but I for one eat that shit up..its like the original teenage bedroom anguish style, mad hip yanomsayin>>?
A.R. Penck wow cooky you are digging. The 'spanish guy' was my little joke pollock playing picasso.
A student of Stuart Davis who goes to town on a slinky.
Hey folks, my main interest is painting, and when I see someone who’s doing it in a very ambitious way and having fun with it I’m impressed. I just don’t believe that art should be used as a weapon in the political arsenal (sorry all you cripto-Marxixts). Tel R just seems like he was having a gas making these paintings without wallowing in some kind of guilt or trying to push an agenda, other that painting. There are a whole lot of European painters who are little known on this side of the pond that he’s bouncing off. Beyond Penk and Jorn, I think he’s probably looked at Alchensky, Saura, maybe some early Kiefer and Gillian Ayres. He’s Israeli and teaches at an academy in Stockholm, Denmark. I liked his last show too which was more diverse as far as media goes. I think that rather than just rolling out some tired old formula he’s got some catchy stuff going on. His use of thick globs of paint and lines squeezed right from the tube against bare canvas is startling (think of Twombly). He’s sketching in the composition leaving about a quarter of the canvas unpainted and slathers paint on the rest. Like I said the palette is a little sweet, makes me think of a candy bar called a Cherry-o-let; dark chocolate with a cherry in syrup and cream nugget inside. Art historically, yeah there is an echo of Pabs, the Pollock connection might not fit as well but maybe late Guston and Jensen with out the formulas. As to whether this direction in painting should be addressed today, why not? The mere fact that someone would suggest that (not doing it) would seem to be the best reason to do it. Don’t miss the Chris Martin, Peter Acheson and Andrew Masullo show next door at Baumgartner, and the Thornton Willis show at Elisabeth Harris
I have to say I am surprised at how much I enjoy his work. It is smart, informed and playful...strong colour, rich use of paint, quirky range of interests but not overly private...I like it a lot. Checked out the show online and it looks a nice contrasting range of work...life really is a box of chocolates!
Stockholm is in Sweden.Copenhagen is in Denmark.
The repro looks great! but I need to see the show AND yes I thought of Pollocks Male and Female right away and how anyone got to EM is seriously silly...
um... laura owens - 620 downstairs - anyone?
I haven't seen the show yet but this painting looks an awful lot like early Pollock to me, without any of the difficulty, made cute. Maybe cute is a subject."..trying to push an agenda, other that painting." KJ- you seem to imply that painting is its own agenda. I don't see it that way. I think subjects matter.
I have no problem with the palette, (pink, red, brown black white, yellow and green)Im a fan of brown n yellow actually. Its a mood thing. Like Im digesting buckwheat pancakes from Veselka right now. No shit. No shit. Anyone read "A history of Shit" translated from the french? Apparently it has some crypto-analysis you can drop at parties Borat style. Right up my alley. I hear the press release said he’d decided to limit the palette for some personal discipline reason for the last two years?To which I say, impressive rigour.SO someone goes all cheese wizz and frosting with their paint handling and thats an instant signifier for "fun"?No way Jose.THis painting screams Kwanza, easter, xmass, albino. Picasso, my libido a mosquito, here we are now, entertain us. I feel stupid just talking about it in rational terms. Thats good. THose black people (im assuming the artist is black because it looks primitive and the palette is "african"-not sure why that is exactly, but maybe its just uncanny) have some kind of uncanny direct line to mythic structures. Why do white people have to be the disciplined ones? Why do blacks Germans and insane people get to be the fingerpainters and scratchitti artists? Ill get into slave mentality later, but master mentality desires a caretaker and at the same time requires a child - sort of an idiot savant of servitude. Maybe someone could develop that thesis for me while I go do something brilliant with my bowels.Maybe its the shrooms talking, but im more into the noisy formal parts than the art historical shit.Since KJ says we shouldnt care about the why, Ill just say this painting makes me feel nostalgic for a time when i glued yarn to construction paper and realized left handed scissors were not only useless, but probably a sick joke.Are there afro-american scissors? What would they look like?Grade: B+
pdog, my bad
kwaanza painting. thats hyterical dude.
your assuming the artist is black because the palette is primitive? damn bro. thats harsh.
Thomas, I’m not saying that there shouldn’t be any subject matter in painting, or even that you can’t have a “political” view to express, but lets agree that if your are a painter, that all those other factors have to come second to trying to make a “good” let alone “great” painting. Any artistic act is an act of rebellion, not revolution. If you want to revolt stop making art, start making revolution. The heretic is still part of the game, even the atheist is reacting to the premise of a divine. The opposite of figurative painting would not be abstract painting but none art, or non-painting whatever that might be. (Not artsy non-art or anti-art.)zip, I care about the why, even though I don't need to know or understand the why, but I care more about the POW.
I see Eliz Murray, which I still stand by. But zip u crazy
ad3pt said... your assuming the artist is black because the palette is primitive? damn bro. thats harsh. 12:41 PM Try to colonize me man, I got the whole fucking space booby trapped with tar and feathers.My mom didnt design no interiors of jets for no sultans, but I know an interior when I see one.Im more into chuck close in a "it came from space" kind of way.
I'm not sure there are any "good" or "great paintings" divorced from their subjects. "Subjects", not "subject matter."
Karle Appel painted like a barbarian in a barbaric age. Kobra Kai motherfucker!
Not all artistic acts are "acts of rebellion." That's a pretty ahistorical view, and in lots of cases its not true today.
As far as references, don't worry about Murray -- that's besides the point and not so astute... Cooky blaha (a few comments ago) had the source best as late Picasso -- Much more specifically, the source for this work is Picasso's 1954 variations on Delacroix's painting Women of Algiers -- in palette, stroke, and composition the citation is unmistakable. After the Henning show, this is yet another example of Zach Feuer Gallery staging memoirs of modernism. hello! adolescent disintigration of form no longer constitutes meaninful avant-garde cultural production! Btw, I was reluctantly attracted to Tal R's old work, whereas much of this work just leaves me cold. What precipitated this change?
thats funny i thought those were olives please boys dont bring back picasso
closeuup Picasso is all over the Whitney. And how can you say Picasso with out saying "Primitive" - oh wait "Primitive" is not politicaly correct.. or is it i can't remember, i hear its back in a big way with Pruitt and Clementine... that or google "seinfeld racist" . ah sweet sweet taboos.
Well the thing is Eliz M and Tal have made current work that refs Picasso --so that's why I like to think of them together. EM's work has the confidence and fluidity of Picasso (lots of people think thats a bad thing--this gallery owner once looked at my work and said it was confident and i knew that meant she hated it) while Tals looks like its done by someone who's developmentally disabled. And many people prefer that look...
if I did it I woulda putta totem onnit. Like a baselitz:breaking the backboard like a pinball wizardYeah, reverse engineered confessions. Thats how we interrogate em.Hes going the distance, hes going for speed...
Ever see the Seinfeld where Mel Torme thinks Kramer is a retard?
@kj I was not implying this work is not viable, I was saying that Tal R's stance of remining modernism may be taken as ironic and not just from the gut, which I would suppose would be distasteful to older artists stiil entranced by modernism....I'm not really getting where Tal is coming from with this work, and nobody has really pinned it down yet. The painting for painting's sake argument, which I dont think this represents (but did someone suggest that?), loses strength when the result is a rehashing of previous work
No trophies, no flowers, no flashbulbs, no limeHe's haunted by something he cannot defineBowel shaking earthquakes of doubt and remorseAssail him and bail him with monster truck force
Tomas, the “any artistic act is an act of rebellion” is paraphrasing Camus” premise from “The Rebel”. I was speaking in regards to society in general not specifically to the tiny arts community or its history. Anyone who stands up and states “I’m an artist” is taking on the masses (sorta, kinda,) not so tough any more with the billion dollar art school industry.cooky, wouldn’t remining Modernism in an “ironic” sense be “Post-Modern”? I kind of saw some of these paintings (at least the ones with obvious historical references) like someone making a reproduction of Rembrandt out of silly putty. They start out with the idea of an homage, which then goes nuts because they get into playing with the goo. I’ve always been skeptical of Modernism just like I’m skeptical of Marxism (there’s a strange correlation between the two). We’re not only in a Post-Modern era, but a Post-Marxist or Post-Socialist one as well.
If I could be you, if you could be meFor just one hour, if we could find a wayTo get inside each others mindIf you could see you through my eyesInstead your own ego I believe youd beI believe youd be surprised to seeThat youve been blindWalk a mile in my shoesJust walk a mile in my shoesBefore you abuse, criticize and accuseThen walk a mile in my shoesNow if we spend the dayThrowin stones at one anothercause I dont think, cause I dont thinkOr wear my hair the same way you doWell, I may be common peopleBut Im your brotherAnd when you strike outYoure tryin to hurt meIts hurtin you, lord how mercyNow there are people on reservationsAnd out in the ghettoAnd brother there, but, for the grace of godGo you and i,If I only had wings of a little angelDont you know, Id flyTo the top of a mountainAnd then Id cry, cry, cry
Tony Flow and the Miraculously Majestic Masters of MayhemThats what you do when you start out your band - you go with the goofy name - "free beer" or "sold out" if your feeling defeatist.Like One night only, SOLD OUT. Then you get your act together and call yourselves Creedence Clearwater Revival and play Pete's candy store to an intimate crowd of three thousand, because suddenly the inside is larger than the outside.Hi, Im Mrs Revival and this here is Ned Creedence, in 7-11 time on the cheesy nachos. ANd Mrs. Clearwater on strings, cuz its fresh and sweet and new like glacier melt coming down of the Himalayas. We are here behind the scenes at the Shangri-la! Better than the prairie, but a mighty wind, nonetheless. Improv is just another word for no script.Can you predict the future? Youre fucking crazy. Yes you.Do you know what time it is? No you dont. You have an educated guess. Or you are looking straight at the wall clock. Thats called the mini "a" transcencence, where space-time becomes blurred and you are somewhere else for a second or two. Psychonauts!But I get idiotic enjoyment out of squeezing through the tailpipe of this symbolic universe.
KJ- Rebellion is also not so tough when it is kind of like an academic requirement these days. The artist as rebel seems to me more like a received idea now (though I also think many artists pay a price for being artists). And of course a lot of great historical artists were not rebels.Makes me nervous when people talk about "any" or all artistic acts.....
the power of christ compells you!
I call myself a nigger 'cause my skin won't whitenI call myself a nigger 'cause the shit that I'm writingHypes me, hypes other mother fuckers around meAnd that's the reason why they want to surround meAnd ask me: why do I call myself a nigger-oAin't none of their fuckin' business 'cause I'll let the trigger goSo get out of my presence, and get out of my sight'Cause MC Ren is a nigger for LifeYou're a nigger 'til you dieIf you're a poor nigger, then you're a poor niggerIf you're a rich nigger, you're a rich niggerBut you never stop being a niggerAnd if you get to be educated, you's an education niggerIt's plain to see, you can't change me'Cause I'm a be a nigger for Life
what's the matter with you??? that's not art criticism. that's just racist babbling. nobody wants to wade through your foolish poem.
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