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.
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 curious hey 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>>?
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!
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?
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...
@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
If I could be you, if you could be me For just one hour, if we could find a way To get inside each others mind If you could see you through my eyes Instead your own ego I believe youd be I believe youd be surprised to see That youve been blind
Walk a mile in my shoes Just walk a mile in my shoes Before you abuse, criticize and accuse Then walk a mile in my shoes
Now if we spend the day Throwin stones at one another cause I dont think, cause I dont think Or wear my hair the same way you do Well, I may be common people But Im your brother And when you strike out Youre tryin to hurt me Its hurtin you, lord how mercy
Now there are people on reservations And out in the ghetto And brother there, but, for the grace of god Go you and i, If I only had wings of a little angel Dont you know, Id fly To the top of a mountain And then Id cry, cry, cry
Tony Flow and the Miraculously Majestic Masters of Mayhem
Thats 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.
36 comments:
Tal R @
Zach Feuer
530 West 24th Street
New 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.
Is this guy politically incorrect? How? (Or did KJ just want to get that dig in for the hundredth time. zzzzz)
Yer boring me, Rush
smart people get even more bored
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 curious
hey 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.
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.
um... laura owens - 620 downstairs - anyone?
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+
kwaanza painting. thats hyterical dude.
your assuming the artist is black because the palette is primitive?
damn bro. thats harsh.
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.
thats funny i thought those were olives
please boys dont bring back picasso
http://www.rawworkflow.com/making_pictures/10/images/72.jpg
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 wizard
Yeah, 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 lime
He's haunted by something he cannot define
Bowel shaking earthquakes of doubt and remorse
Assail him and bail him with monster truck force
If I could be you, if you could be me
For just one hour, if we could find a way
To get inside each others mind
If you could see you through my eyes
Instead your own ego I believe youd be
I believe youd be surprised to see
That youve been blind
Walk a mile in my shoes
Just walk a mile in my shoes
Before you abuse, criticize and accuse
Then walk a mile in my shoes
Now if we spend the day
Throwin stones at one another
cause I dont think, cause I dont think
Or wear my hair the same way you do
Well, I may be common people
But Im your brother
And when you strike out
Youre tryin to hurt me
Its hurtin you, lord how mercy
Now there are people on reservations
And out in the ghetto
And brother there, but, for the grace of god
Go you and i,
If I only had wings of a little angel
Dont you know, Id fly
To the top of a mountain
And then Id cry, cry, cry
Tony Flow and the Miraculously Majestic Masters of Mayhem
Thats 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.
the power of christ compells you!
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