Jessica Dickinson @ Max Protetch 511 West 22nd Street New York, NY 10011
Group Show:Cameron Nicolas Rule Saul Chernick, Gary Stephan Jessica Dickinson, Chris Martin Byron Kim, Andrew Guenther Alfred Jensen, Mira Dancy Rico Gaston, Marc Handelman Eric Heist,Katherine Keltner Mike Cloud, Ed Blackburn
that alfred jensen looked freaky god awful. i guess. speaking of cameron i heard she tried to give birth to a homunculus (zip?) "Let me know the misery totally. And spare not and be not spared. Sacrament and Crucifixion. Oh my passion and shame--." -writings by jack parsons(husband of cameron, follower of crowley and ex-roomate of l ron hubbard) found at the site of his death, an explosion under mysterious circumstances. anybody see "Night Tide"? i think dennis hopper was in it.
the Chris Martin, I thought, looked good. OK, no rush, I'll say it. knowing everything is fine, figuring out what you did with the darn thing poses the ever relentless question. Like, finding only means at one stage lost, right? what about the Jessica Dickinson, it's a slower picture compared to say the martin, you'd have to give it some time. And it's one of those best seen live. while I'm at it... I see some pretty mean on the shift curlicue happening over some way, too, old guy? with cleaner color...
the strangest of the bunch to me was the mira dancy 'tall table' seemed to have that gross asthetic thing happening too,..like the alfred jensen? I'm a little curious about this dickinson but really only cause i'm wonderin about the technique.. a teacher once told me he was interested in stuff when it was new to him or was stuff he couldn't or never thought to do himself.. another trick for his bag.. this doesn't offer much in the way of subject matter perhaps.. but also very little in terms of aesthetic interest.(from first quick glance) makes me wonder what people had to say about the Roger White below?
It's hard to resist commenting on the whole show. I think Concrete noticed the Chernicks as well - me too - and can't help wondering, as with the Giehler and White, whether there's a range of casual wear to follow. I can see my front room re-upholstered along those lines. The Dickinson has got a lot of technique going on. The vertical parallel lines baffle me. An incipient Minimalist lurks still, perhaps? The Blackburn is a laugh.
about the Giehler, sorry wasn't around for all the posts on previous but, Is there an abnormal amount of geometry and architecture flying through space these days? Not the Giehler necessarily, but random geometric bits with organic cloudy stuff all jumbled together?
God now I'm really depressed (after visiting the above link). Seems the Germans have captured even the market for kitsch. It's funny how we use their word for it.
I don't think this work by Jessica has much to do with club med. There's this fine grid. There's this watery wave system over, but not over the top. There is this burn and fleck. And there is this smudge. In the lighter area vertical lines are more predominant, we read them. The darker has the horizontal. The lighter throws a dimensional shift. The left side frames while the shadowy right is shadow or a pre-replicate. The violet smudges confuses the shadow and brings them up. This painting is about attraction and repulsion, and the violent happy bits, whiteouts--as we return to the grids. It's not a mind painting, though A PAINTING OF THE MIND, with seismic irregularities and inconsistencies that end up just making sense. I guess it's a very quiet painting appearing less loaded, though complex with inspect.
Has anyone noticed that the 'fine grid pattern' matches the background logo of the Max P website? I take that as a symbol that really the galleries and curators are still calling the shots. If and when there arises another art "movement" (and that might not ever happen) it will be born in the mind of a savvy art dealer. As it ever was.
Not blaming the artsellers here, but more the artists for catering too much to them. It's like I don't blame Bush as much as I blame the people who put him there. Oops, slippery slope tangential reasoning, gotta stop.
I see a crucified rabbit. lookin at the thumbnails, seems they tried to tie show together formally and subject matter wise. too bad they had to start with the jensen and were going for ooglie. the grid appears in quite a few works and the unresolved/quick slap paint choice/handling....
That evil donkey is laughing as he flings all those crumpled tissues around in my mind. This is what happens when you have too much technique - some of it gets converted to content in the most inconvenient places. I don’t really mind. It doesn’t really matter. Excuse me while I kiss the sky.
i had a dream about this painting., In it I was aware that some of the things I had interpeted as glints of sunlight on water, or as the Island of Lost Children were really something else entirely.
That is the beauty of sleeping in.
Do you think the torrential rain indirectyl caused the gas main explosion?
I don't know what my power animal is, but my spirit warrior trick is to appear in two places at one - but in one of those places I will be something else.
Brian Alfred's last show at Max Protetch was quite fanatastic. His next show at Mary Boone didn't have the same intimacy or complexity. (In the last show at Protetch they built a whole room for his flash animations while at the opening for the Mary Boone, an ipod and small set of speakers in the corner was all that was offered.
looks nice all orange and comlimentary to the sky. I wonder if he thinks about that at all or if he's mostly onto the whole plane-person hybridity thing.
While the show seems to tackle spirituality and introspection, I did not see both in this painting (of course, I think my vision was clouded by news that a bunny with night vision goggles might be lurking in the details). Did not see too much in terms of technique here also.
The following works were good at the show and did not make the trip a disappointment. Saul Chernick's 'Immaculation' and 'Cure All'. Alfred Jensen's 'Mayan Head'. Ed Blackburn's 'Saul and David'. Joseph Montgomery's 'Genuflection Machine' was corny (with stepper motors and switches) and I enjoyed it...
38 comments:
Jessica Dickinson @
Max Protetch
511 West 22nd Street
New York, NY 10011
Group Show:Cameron Nicolas Rule
Saul Chernick, Gary Stephan
Jessica Dickinson, Chris Martin
Byron Kim, Andrew Guenther
Alfred Jensen, Mira Dancy
Rico Gaston, Marc Handelman
Eric Heist,Katherine Keltner
Mike Cloud, Ed Blackburn
That's a very interesting group of work. Cameron? How'd they get a Cameron? I loved her pieces in the Semina show.
Hey CP--look at the Chris Martin in this show and then repeat after me--i already know everything, i already know everything
that alfred jensen looked freaky god awful.
i guess.
speaking of cameron i heard she tried to give birth to a homunculus (zip?)
"Let me know the misery totally. And spare not and be not spared. Sacrament and Crucifixion. Oh my passion and shame--."
-writings by jack parsons(husband of cameron, follower of crowley and ex-roomate of l ron hubbard) found at the site of his death, an explosion under mysterious circumstances.
anybody see "Night Tide"? i think dennis hopper was in it.
opened same night as show before. overstock.com
our reporter is live now at giverny, where there appears to have been some sort of explosion-
Strange religious subtext to a lot of the show.
Was Max the curator?
Lyrical abstraction never looked so pious.
the Chris Martin, I thought, looked good.
OK, no rush, I'll say it.
knowing everything is fine, figuring out what you did with the darn thing poses the ever relentless question.
Like, finding only means at one stage lost, right?
what about the Jessica Dickinson, it's a slower picture compared to say the martin, you'd have to give it some time. And it's one of those best seen live.
while I'm at it...
I see some pretty mean on the shift curlicue happening over some way, too, old guy? with cleaner color...
the strangest of the bunch to me was the mira dancy 'tall table' seemed to have that gross asthetic thing happening too,..like the alfred jensen? I'm a little curious about this dickinson but really only cause i'm wonderin about the technique..
a teacher once told me he was interested in stuff when it was new to him or was stuff he couldn't or never thought to do himself.. another trick for his bag.. this doesn't offer much in the way of subject matter perhaps.. but also very little in terms of aesthetic interest.(from first quick glance)
makes me wonder what people had to say about the Roger White below?
It's hard to resist commenting on the whole show.
I think Concrete noticed the Chernicks as well - me too - and can't help wondering, as with the Giehler and White, whether there's a range of casual wear to follow.
I can see my front room re-upholstered along those lines.
The Dickinson has got a lot of technique going on. The vertical parallel lines baffle me. An incipient Minimalist lurks still, perhaps?
The Blackburn is a laugh.
lassenart
about the Giehler, sorry wasn't around for all the posts on previous but, Is there an abnormal amount of geometry and architecture flying through space these days? Not the Giehler necessarily, but random geometric bits with organic cloudy stuff all jumbled together?
God now I'm really depressed (after visiting the above link).
Seems the Germans have captured even the market for kitsch.
It's funny how we use their word for it.
Miami Vice
don't make me get Jimmy Buffet out of the box.
So you're saying Jessica is/was really into Flipper?
club meds
I don't think this work by Jessica has much to do with club med.
There's this fine grid. There's this watery wave system over, but not over the top. There is this burn and fleck. And there is this smudge. In the lighter area vertical lines are more predominant, we read them. The darker has the horizontal. The lighter throws a dimensional shift. The left side frames while the shadowy right is shadow or a pre-replicate. The violet smudges confuses the shadow and brings them up.
This painting is about attraction and repulsion, and the violent happy bits, whiteouts--as we return to the grids. It's not a mind painting, though A PAINTING OF THE MIND, with seismic irregularities and inconsistencies that end up just making sense.
I guess it's a very quiet painting appearing less loaded, though complex with inspect.
how was everyone's commute this morning?
Has anyone noticed that the 'fine grid pattern' matches the background logo of the Max P website? I take that as a symbol that really the galleries and curators are still calling the shots. If and when there arises another art "movement" (and that might not ever happen) it will be born in the mind of a savvy art dealer. As it ever was.
Not blaming the artsellers here, but more the artists for catering too much to them. It's like I don't blame Bush as much as I blame the people who put him there.
Oops, slippery slope tangential reasoning, gotta stop.
It looks like a window with matchstick blinds--the sun shining thru making a blast of broken light.
White mans got a God complex.
I see a crucified rabbit.
lookin at the thumbnails, seems they tried to tie show together formally and subject matter wise. too bad they had to start with the jensen and were going for ooglie. the grid appears in quite a few works and the unresolved/quick slap paint choice/handling....
I see the bunny! Art is scary.
I see a demonic donkey looking through the matchstick blinds.
aaron..now all I see is the donkey!!!
Bunny/donkey/rabbit,..what does it all mean? Animals shouldn't be left in charge of meth labs?
Depends on your totem animal. If you think you don't have one, guess again. Emile Durkheim is a good introduction.
I am eating the taboo of your tribe, washing it down with a margarita and burping mightily.
Yes, you are primitive, and I am working hard to make the dialectic break bricks. It can and it will.
Is that the same as your power animal? cause i don't know what mine is and i'm afraid it might be an ass.
Jimi Hendrix was a good guitar player.
That evil donkey is laughing as he flings all those crumpled tissues around in my mind.
This is what happens when you have too much technique - some of it gets converted to content in the most inconvenient places.
I don’t really mind.
It doesn’t really matter.
Excuse me while I kiss the sky.
i love dandelions.
i had a dream about this painting., In it I was aware that some of the things I had interpeted as glints of sunlight on water, or as the Island of Lost Children were really something else entirely.
That is the beauty of sleeping in.
Do you think the torrential rain indirectyl caused the gas main explosion?
I don't know what my power animal is, but my spirit warrior trick is to appear in two places at one - but in one of those places I will be something else.
transformer+steam
+asbestos?
Brian Alfred's last show at Max Protetch was quite fanatastic. His next show at Mary Boone didn't have the same intimacy or complexity. (In the last show at Protetch they built a whole room for his flash animations while at the opening for the Mary Boone, an ipod and small set of speakers in the corner was all that was offered.
Would this show look any different at Mary Boone?
yes of course
"transformer+steam"
Wow. Hadn't seen pictures of it yet. Yikes.
gormley
looks nice all orange and comlimentary to the sky. I wonder if he thinks about that at all or if he's mostly onto the whole plane-person hybridity thing.
whoah, man
Sometimes the parallels between artists materials and attention to site specificity are eerie.
Painters using the same paint, for example.
If the egyptians had access to large quantities of rolled gold
who knows what fine pretzles they would have created!
save your sticks!!!
Can you define "unresolved" re: paint handling?
While the show seems to tackle spirituality and introspection, I did not see both in this painting (of course, I think my vision was clouded by news that a bunny with night vision goggles might be lurking in the details). Did not see too much in terms of technique here also.
The following works were good at the show and did not make the trip a disappointment.
Saul Chernick's 'Immaculation' and 'Cure All'. Alfred Jensen's 'Mayan Head'. Ed Blackburn's 'Saul and David'. Joseph Montgomery's 'Genuflection Machine' was corny (with stepper motors and switches) and I enjoyed it...
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