I wrote Interpreted for Viewing about the photography of Jeremiah Dine for The Common, an arts journal based at Amherst College. This is my second piece for them (The first on Rachel Barrett is here). There is an online benefit as well to support the ongoing presence of visual art in The Common. To purchase “A Jeremiah 846”, click through here.
On the steamiest of Friday evenings, I made my way to the Lower East Side for a tour of shows and gallery openings. When it wasn’t raining, I wished it was. When it did, it offered no relief. If a crappy novelist was pecking at a keyboard somewhere typing “The night was moist” I would not be surprised. The night was a sponge waiting to be wrung out. Oh, there was also art.
Nicelle Beauchene had an exhibition of small abstract works on dark raw canvas by Eamon Ore-Giron. These seemed to me a relic of Bauhaus instructors making sense of beautiful mechanical forms or possibly an Anni and Josef Albers collaboration. Sorry to name drop but it was an immediate reaction. The show was small but effective and it left an impression. To go through all of the openings and shows seems needless. Lisa Cooley had the most impressive group show with Antibody. Matthew Brannon and Anne Collier were stand outs. Lu Magnus also presented a strong small show called On the Grid, which included favorites of mine (Keltie Ferris, Xylor Jane) and people I was excited to discover like Michelle Grabner. Klaus von Nitchtssagend offered Work, a twist on the group show by presenting a mass produced art work created by committee. The final piece was chosen from 5 prototypes by way of a vote among the 14 artists involved. The final work is unique-ish but each version had distinct similarities and was as odd as it was inexpensive ($250). It is the remnant of a collaborative process designed by Sara Greenberger Rafferty. P!, an experimental space that was discussed by its founder Prem Krishnamurthy in a previous Atlas, presented Permutation 03.4: Re-Mix. I still haven’t formed an opinion on this show. My initial reaction was that I loved the way it looked but it was over my head and out of reach. I spent some time researching the premise and I am opening up to the ideas. Sometimes you have to let the work grow on you, though a single gallery visit is rarely the way to do this.
The LES galleries are showing strong work even in the dog days of summer. I was impressed and damp, not in that order.
lastly a roundup of some recent writing that I particularly enjoyed:
Thomas Micchelli at Hyperallergic with 2 pieces: The New Casualists Strike Again and Painting on the Cusp that both reference and expound on Sharon Butler’s (of Two Coats of Paint) Abstract Painting: The New Casualist (Brooklyn Rail, 2011)
And just for kicks: Jerry Saltz becomes even more of a caricature