Wednesday, December 16, 2009

Painting at the Kitchen, Cave Painting, Hawkins @ Greene Naftali




What is it about NY and abstract painting? People make it out that the two are so innately connected that you'd start to think one is dating Nate Lowman while the other gets the guy who went "full retard" in Gigli. Now which is the Kitchen show and which is Cave Painting? Who cares? Maybe child labor laws forced what would be one show into 2, the same way it split Michelle Tanner into Mary-Kate and Ashley? Magoo knows that neither show aims to be regional snapshots of "contemporary painting" but it stinks like Bud Fox in theres. I pity the podunks dragged into these shows, left rolled up on the floor waiting for John Yau to come by and pensively fondle his goatee. Even if they use South American daylaborers, pennies or their fingers, painters tend to be very sensitive and easily offended by groupings of this sort. Thankfully Magoo don't "paint", so all the grumbles I've taken in don't add up. But then again, neither do the shows. Total whatevs; just another way of differentiating the days before we all, one by one, tumble into the deepest sink.



Sure, Nickas picked some winners to take down into his weird little basement and Singer managed to hang what isn't a complete affont to whatever "good taste" is these days. But the endless mitosis of these abstract "reappraisals" is certainly wearing this Magoose thin, making me long for that hideously adorable Nazi baby Yuskavage exhibited to much consternation earlier this year across the street from the Kitchen. But such longing is moot thanks to Richard Hawkins' show right 'round the corner from Cave Painting, getting here just in time to scrub our brains with linseed oil and young asian men. As painting (especially in NY) is increasingly put to overdetermined use, servicing the fabulations of "arbitrary" or "performative" subjectivities on its material knees, Hawkins' perverse abstractions and amateur figuration are like a lotus flower to such overdeterminations; narcotizing and sexualizing the potential relationships between artist, canvas and viewer through an emancipated flow of unpoliced desires. No doubt thanks to Hawkins' been-around-the-block, a posteriori paintings (painting in the posteriori, from the posteriori? bad pun?), a friend mentioned to me that after seeing this show "these NY artists are not gonna know what think, not know what to do or even who to do anymore..."



Tuesday, December 8, 2009

If You Seek... Reena Spaulings



So gnarly. John Dogg gone Hollister—did any of you see them surf boards!?! Wowzer scoobs, couldn't be fresher even if it came off a banana boat! Peep this Sutton Lane promo... liferz only!

Monday, November 23, 2009

Zut Alors! Cyprien Gaillard Bats 1.000 with Magoo

Magoo is pleased to bring you Cyprien Gaillard's new video. Très Amusant!

Tuesday, November 17, 2009

Das Institut @ Swiss Institute


Theez chix's horizons stem from the curious economic nexus that has recently besieged the (NY) art world. That is, their work - perhaps in its desperate search for visibility - dangles oedipally between the self-aware performative economics of their Columbia teachers that typified pre-crisis NY art (Gareth James, Blake Rayne, Reena, etc.) and the recent curatorial desire for work that takes recession-proof sociological hallucinations as its muse (Cyprien Galliard, Tris Vonna-Mitchell, Keren Cytter, etc.) - plus, to top it off, there's bizarre Guyton/Walker worship. Why castigate DIY in lieu of castigating Puerto Rican collectors by making art that has them salivating? Or better yet, why castigate DIY in lieu of literalizing euro-trash? DI's overidentificatory enactment of the "shadier" corners of neoliberal exchange self-consciously steers clear of the aesthetically undesirable politics like child workers, undocumented daylaborers, human trafficking, etc. in favor of the skimmed beauty mentioned in this review, leaving one to cynically ponder a "critical" logic that indicts the however-flawed constituent politics of subcultural initiatives as something synonymous with post-Bretton Woods economic exploitation. Do Brätsch and Roder even know what a vegan potluck is? Is a course offered?