Other People’s Work (#1)
June 14, 2010
As I am desperately trying to promote myself to as a curator/gallery director (long story) and this blog needs a shakeup I spent most of Sunday looking at the work of strangers online. It’s both thrilling, when you discover something really amazing, but also exhausting because there’s just so much to look at and sift through and make theoretical curatorial decisions about. And disappointing when you find a great artist already represented by another gallery.
But I wanted to share some highlights, which are all no photography for some reason. I found most of these via Johanna Reed’s blog This is That and one of my first orders of business as a theoretical gallery director would be to ask her to curate a textile art group show because it’s fascinating and I know nothing about it so there you go.
So here’s some work I like, no particular order.
First up is Daniel Turner, who mostly qualifies as a sculptor but I picked this show because of the emphasis of human presence in rubbing up against (rather than painting on) gallery walls. Aside from that it’s a bit like a restrained Katherina Grosse and you know I love me some Katherina Grosse, restrained or not.
Next up, Yasue Maetake. I know nothing about him/her but usually assemblage sculpture falls into the traps of whimsy or menace and this treads a thin line between the two very well as well as maintaining a Jean Tinguely sort of “you could maybe plug this in and turn it on” sensibility, which is nice.
Next up is Joshua Callaghan, whose work is hard to compress into one image but I particularly like this piece and the elegance of the idea (painted bricks) plus I am a sucker for scatter art.
Next, Clarissa Tossin. Full disclosure: I know of this work because I was in a group show with it–strangely, although Tossin and I overlapped a year in the MFA program at CalArts I don’t recall ever meeting her in person, though. It’s all ceramic, though, replicas of bathroom waste (no not that kind) once again, scattered around.
Finally, some painting by Dianna Molzan. Painting appreciation is not my strength but there’s a certain thread of painters who make work seem like it’s happily confused with sculpture (see also RJ Messineo) and these works are a perfect example of that. Painting that might also be something else seems like a good way for abstract work to move forward.