Archive for the ‘art as criticism’ Category
Katherine Grayson, Value Study #1, 2004, collage and ink on paper, 8 X 5 inches (detail).
The artist makes her own zipatone with printed out, cut out fill patterns. The piece has a very hands-on, day camp feel to it, at odds with the computer element, which is supposedly so "cold" (at least to the cult of the hand that still thrives in the art world).
Ah, the twisty turns of history. The Infinite Fill Show, an early incarnation of what is now being called "Post Internet," received much press but generated no sales of artwork for the gallery. After exhibiting the above digital print (collage), Grayson went on to run The Hole gallery, which now shows post analog painting, a kind of reified, gallery-friendly version of digital art.
Drawing put up by reneabythe after yesterday's post about the artist and "technologist" stereotypes inherent in Rhizome's annual Seven on Seven events.
In reality the artist is a complex whole, not a TV sitcom cliche!
...true X-men fans will ignore the arty pic on the left and contemplate the mechanics of the "adamantium boner"
hat tips halitosis, pretzel
hat tip jonathn
screenshots via sterlingcrip and reneabythe
Screenshot of announcement for my 2007 show, "Blog," from ArtCat
"This is an experiment in total freedom."
Also, we were laughing pretty hard in Williamburg [sic] over calling the workstation a "terminal." As I recall, Time Out New York's listing used that word, too.
One of the bones of contention regarding Ryder Ripps' recent Postmasters exhibition, consisting of iPhone-distorted images based on a sportswear model's Instagram photos, was his use of the model's last name "Ho" as the show's title. Some New York critics lambasted him for this. Karen Archey in Frieze [sign-in required] wrote:
Ho is Canadian with French and Chinese ancestry, hence the show’s title is a play on her last name that manages to be racist and misogynist simultaneously.
Johanna Fateman in Artforum added:
The most scathing critics of his new work characterize it as banal theft and sexist defacement of a woman’s images, calling out the puerile double entendre of the show’s title while they’re at it.
Artforum contributing writer Sarah Nicole Prickett tweeted:
Spends two weeks defending his feminist credentials, incredulously, after being like, called out for having a show called "Ho" as if double entendres didn't exist...
And yet, the model Adrianne Ho jokingly labels her own Twitter account "Follow a Ho! SWEAT THE STYLE":
And is profiled in "Status" magazine in an article with the title Not Your Average Ho, containing still more jokes at her own expense:
Men dominate streetwear, but with 25-year-old muse ADRIANNE HO being Hypebeast’s pick as “The Unofficial Face of Menswear,” people might want to think twice. She appreciates a good pun and often has a self-deprecating streak in reference to her surname. Her Twitter account is filled with tweets like “It’s hot out here for a Ho” and “Ho on the go.”
Are we "slut-shaming" here? Was Ripps? The arena for the slur was a prominent NY gallery, where privileged left-of-center bohemians bait other privileged left-of-center bohemians to claim the moral high ground. Shaming a "slut" is just as tacky in that world as being one. We could talk about Ho's "interior colonization" in using an epithet of her oppressors to self-identify. Or we could talk about "click-whoring" -- a term often used without gender association and practiced by many art magazines and non-profits in our current dystopian era of pervasive social media. We didn't talk about those things because none of the critics did any investigation to see where the use of "Ho" in its double meanings originated. It was presumed to be a one-sided gender slur and left at that (to the artist's reputational detriment).