| previous | 25 July 2005 | next
Over the weekend I went to the opening of Landscape Confection at Contemporary Arts Museum Houston. Overall the exhibition looks great, though the installation at this venue [I don't know how it hung at the Wexner] kept the artists in fairly discreet blocks - I think to everyone's disadvantage. Part of the problem is that, generally speaking, the artists have a very similar aestheitic, so the show as a whole is 'low-contrast.' For example, Lisa Sanditz paintings hang next to David Korty's paintings - both work on approximately the same scale, and at first glance from across the room you might not know that there are two artists rather than one. If you stuck one of Gubbiotti's in between, like Inferior Mechanics...
... that would get some conversations going. Dolly Parton's Peaks, Knoxville, TN, by Sanditz, is one of my favorite pieces and generally her work has some really smart references - like she's channeling Grandma Moses while painting strip malls.
The other artist whose work really knocked me out was Neal Rock: his sculptures look like some sort of nouvelle cuisine seafood dessert. Maybe I am a frustrated sculptor? Here's a detail from one of his pieces [check out the Wexner site for the info]:
His work reminds me of Petah Coyne's chandeliers, which might have been an interesting addition to the show:
Listening to the new Alto Nova/Ryuichi Sakamoto album Insen, worthy successor to the Budd/Eno collaborations in the late-70's/early-80's. One last Gubbiotti; this one makes a great shadow on the wall. I was being chased by a twelve-year-old guard [truly, il piccolo diavolo] when I took this. You can see it in-focus on the Wexner site.
|
