this past weekend
Post #539 • May 16, 2005, 11:52 AM • 20 Comments
My to-do list hit fourteen items today, so I won't treat this post with the thoroughness I'd prefer, but I'm putting it up because people are champing at the bit to talk about the shows this weekend. (The good news: Go See Art is going to rock.)
The press release from the Rubells for At This Time: Ten Miami Artists claimeth:
The exhibit will demonstrate the connections and similar concerns of artists who call Miami home. It has been a considerable period of time since any museum in Miami has exhibited a significant overview of area artists so this show will be an important time for us to evaluate what artists have been doing in Miami over the last number of years.
Only an idiot would regard the show this way. As I've already pointed out, six out of ten of the artists hail from Snitzer Gallery all of the work comes out of the Rubell collection, so the show has passed through at least one or two heavy filters that render it useless as an overview. Furthermore, it doesn't do much for many of the artists included; I felt that it especially slighted Jaie Hwang, who has done better work than the little pencil princesses on graph paper that represent her in At This Time. More than a few works, including Naomi Fisher's flowers-down-the-britches photos, date to the late nineties, prompting me to ask myself, at which time?
Purvis Young's work has never registered for me, but installed wallpaper-style in one room in the exhibition, it came off with all the raw force and freedom that people praise his work for and unquietly stole the show. Hernan Bas's work seemed to hang everywhere, and confirmed my feelings about his abilities: on paper, about forearm-size, he can execute a touching, intriguing image. Going larger and moving to canvas put massive strain on his ability to compose and his feathery, tentative drawing, the latter of which works for him well otherwise. Mark Handforth's cast resin jujubes had a pleasant, colorful presence.
Christina Lei Rodriguez's baroque sculptures of plastic plants continue to look good, although the bigger one that usually sits outside on the sculpture patio seemed like it had no light on it for some reason. Cooper's rambling construction with its rambling title conveys no urgency or life despite its size. Norberto Rodriguez's comment on his identity powerlessly expended a wall.
Carol Jazzar's show featured some funny, gross-out graphic images by Monique Leyton that wore thin after awhile but used an appropriate, aircraft-disaster-instructions style to illustrate modifications that might better suit one for modern living, such as a permanent smile. Sexy, campy photos by Gismo will change the way you look at fat girls forever. I didn't spend much time in front of Lou Ann Colodny's video - my apologies.
Anyone who considers himself an artist has to check whether his work ethic matches that of Julie Kahn by half. Off and on since 1999 and continuously for over a year, she documented the culture and culinary practices of central Florida, culminating in disturbing, powerful body of photographs and videos on display at Locust. A catalogue, panel discussion, and wild game tasting accompanied the exhibition. Kahn has the whole package: talent, drive, vision, and big, big plans.
I haven't applied to a juried exhibition in years, on principle partly, and because the sponsors tend to overhang them with too wide a range of work, but the Juried Biennial at the Art & Culture Center, curated by Nick Cindric of Rocket Projects, changed my mind about that. (Update: I mean that in a good way. Nice hangning, cogent selection. Sorry if I didn't make that clear.)
Speaking of work ethic, I have to go take care of some of mine. Have a good day.