Bad at Sports » Art Review

ART REVIEW HAIKUS by amanda browder

amanda browder — Sun, 26 Feb 2012 19:55:46 +0000

Three Art Review Haiku’s for three of the artists at The Hole Gallery in NYC.

Matt Jones

Solar pleixs edge
Sneezed stars with tomb resonance
Square held universe

Kadar Brock

Pretend depth via,
skimmed surface deconstructed
Each hole dripped with sharp

Scott Reeder

Uh, Seriously!!!
A tape worm home kit is good
Food removed with glee

The exhibition they participated in was called “…”

http://theholenyc.com/2011/12/09/1407/

ArtReview Reports on BaS NYC Gallery Show

Christopher — Tue, 27 Apr 2010 05:27:37 +0000

Chris Bors of ArtReview reports in on the Bad at Sports gallery show “Don’t Piss on Me and Tell Me It’s Raining” which has been up at Apexart Gallery in NYC since April 7th & will continue till May 22nd. In the review Mr. Bors comments on the relationship of the Art world to the internet & blogging especially. Pointing out Richard Flood’s recent statement at the Portland (Oregon) Art Museum about bloggers being prairie dogs; popping up one after another with no communication between themselves & no (editorial) oversight. A statement that one can debate the merits of but also one that Bad at Sports for over five years has been working to prove false.

In the review Mr. Bors recounts the history of Bad at Sports, the artists it has been lucky enough to work with over the years and the work they donated to be part of the gallery show. While also commenting on one piece in particular saying:

The liveliest work on view, however, is in apexart’s window, where a monitor shows animated credits listing Bad at Sports’s contributors. Created by B@S member Christopher Hudgens in the style of designer and filmmaker Saul Bass, well known for his masterful film titles, the retro graphics, limited animation and jazz soundtrack mesh seamlessly, while managing to get in a dig at Flood for good measure.

Bad at Sports would like to thank Mr. Bors for coming out to see the show and taking the time to review it. More so we want to thank every artist that was involved in the opening which in reality is nothing but an extention of the generous giving of time, ideas & energy those same people have shared with us for over 250 hours of interviews, talks, laughs & drinking since Bad at Sports first aired in 2005.

Review: The Music and the Wine by Paul Cowan

Martine Syms — Thu, 18 Mar 2010 19:06:03 +0000

I just started reading Six Nonlectures by E.E. Cummings and I love it. Each time I set down my book I fantasize about being a Harvard grad class of 1936 (or earlier) and I want to write in that canonical W.A.S.P.-y literary style. A style first introduced to me in middle school through The Great Gatsby and Catcher in the Rye, and later impressed upon me in college through Burroughs, Stevens, Kerouac, and other dudes. These frequently referenced stories are part of an American myth that I can’t seem to shake.

My friend Paul Cowan knows what I’m going through. He recently released a collection of short stories entitled The Music and the Wine that follow a series of unnamed protagonists through everyday scenarios. The vignettes are about “nothing,” meaning ideas that are hard to describe: why your favorite pants are your favorite or what it feels like when someone steals your jokes. Paul once told me that he thought reading fiction was indulgent and his writing is decidedly enjoyable.

The Music and the Wine is a bizarre homage to the great American novel. In Wilke Dairy Co. Cowan acknowledges his indirect nostalgia for a time that only really exists in retrospect. He celebrates the Midwest and the 1950s. In Wilke Dairy Co. the narrator recalls a perfect night making out with Ann Wilke, a dairy heir, in her parents’ basement. The narratives are funny, nearly satirical, and my favorite is about a divisive social butterfly. It begins, “It’s a thin line between love and hate. And I never walk that line.”

The Music and the Wine is available from Paul Cowan and Golden Age. On Saturday, March 27th 7-10pm please join us at Golden Age for Alla Prima, a show of new works by Paul Cowan. Visit www.shopgoldenage.com for more information.

Friday’s Links Roundup

Meg Onli — Fri, 12 Jun 2009 16:40:30 +0000

Wallpaper* Magazine's colection of Tart Cards

Hope everyone has had a great week. On this weeks roundup we check out Murakami’s latest video for Louis Vuitton, a new article on Marina Abramović, and Wallpaper Magazin’s collection on Tart Cards. Have a good weekend and hopefully we will see you at the closing of Green Lantern.Viva La GL!

Lori Waxman has a great article on the Tamms Year Ten mud stencils in New City.
Takashi Murakami released his new ad for Louis Vuitton, Superflat First Love. Why do I feel like I have already seen this?
Wallpaper Magazine lets designers take a stab at London’s tart cards. Here are my faves: 1, 2, 3,
Art Review has a write up on Marina Abramović.
Disco jail? Adrian Searle’s video of the Venice Biennale highlights.
Want to know what is going on at Basel besides Brad Pitt and his new Neo Rauch? Check out what Art Fag City is checking out here, here, and here.
IDK if anyone has said this but ThreeWalls has extended their residency and project deadlines until July 1. So, get on it.
Camera or Voltron? The toy I always wanted.
The Museum of Modern Art will be hosting a retrospective of Tim “I ruined Planet of the Apes” Burton on Nov. 22

Chicago Gallery Review: October 08′

duncan — Wed, 29 Oct 2008 16:55:39 +0000

Carrie Schneider @ Monique Meloche; Lora Fosberg @ Linda Warren; Amy Mayfield @ threewalls

Artwork copyright the original artists; text and documentation copyright Paul Germanos.

Friday, October 17, 2008, Chicago:

Carrie Schneider @ Monique Meloche

“ognuno vede” — Niccolo Machiavelli:

As I ride east, the sky fades to red behind me.
And according to no particular rhythm, drops of rain infrequently appear on the visor of my helmet.
Bike parked, block walked, I cross the threshold of Monique Meloche Gallery and find the photography of Carrie Schneider.

Schneider’s prints are large — an easy meter on any given side — and in full color.
The subjects are human figures, and products of human artifice, as found in landscapes of great natural beauty.
OK.

Meloche’s exhibition program has seemed at once gutsy and cerebral, demonstrating a sustained interest not only in the sensual human experience of the world, but also favoring a cool, museum-like intellectual framing of contemporary issues.
And so I suppose there’s something here in addition to pretty scenery and clever portraits.
Clue: the consistently idiosyncratic aspect of Schneider’s photography is the focus upon some type of covering.

The human figure in the piece entitled We, and the canoe in Dazzle Camouflage, are draped with a Riley-like, black-and-white canvas.
But “dazzle” is a reference not to Op Art, rather a battlefield technique that disrupts an opponent’s perception through the use of striking, high-contrast patterns wholly unrelated to the object so treated.[1]

Certain of that, conscious of the fact that Carrie Schneider’s work has, for several years, evidenced an artistic strategy concerned with ambiguity,[2]
it seems likely that her first solo show is in large part an exploration of the tactics of camouflage.

Continuing to view the work, continuing to think about camouflage, the self-portrait beneath a mask of juniper boughs in Queen of This Island seems not unlike a ghillie suit:
that covering of organic materials drawn from the environment into which one desires to blend,
most familiar in the form of a rude crown of grass and twigs ringing the helmet of military snipers.[3]

The application of such substances to the human figure is a familiar process in Chicago:
A photograph of one of Nick Cave’s “suits” hung on the same gallery wall a few short months ago;
and while not “wearable,” and more distant (ten to twenty years prior) historically, there is also the example of Tom Czarnopys’ cast figures encased in bark.

Maybe most notable in their exploitation of camouflage have been local artists Tom Burtonwood & Holly Holmes.
In their piece Price War!, as see at the Consuming War exhibition, B & H applied a non-threatening commercial pattern to threatening, military shapes.
Later reversing that figure/ground relationship at artXposium 2.0, B & H applied a threatening military pattern to a non-threatening commercial shape in their piece Urban Camo Santa.

That Burtonwood and Holmes examine the relationship between commerce and war is writ large for all to read.[4]

Coyly, Schneider looks out from her work: young, beautiful and self-satisfied.
She’s not really hiding.
What is Schneider’s interest in camouflage?
In both her projected and also in her printed films, the message, the revelation, is delivered by means of the obscurement.
What is she attempting to communicate?

Lora Fosberg @ Linda Warren

Communication:

There are times when the clarity and simplicity of an artist’s message, amplified by the means of delivery,
overwhelm and even stupify the viewer.

In the past, Barbara Kruger’s bold font has seemed to shout at me;
Jenny Holzer’s animation and projections have quite literally circled menacingly, and towered ominously above me.[5]
I’ve been told that this confrontational mode of delivery was carefully chosen for the purpose of forcing certain issues into the public consciousness.

But, fighting — and the work of Kruger and Holzer alluded to above is combative — with the weapons and armor
of the enemy, they, at times, appear to belong to his camp…to be propagandists.

Exposed to loud noise, I cover my ears; in the presence of a bright light, I shield my eyes.
But when someone whispers, I draw near and listen.
And seeing something delicate and small, I’m inclined to study it with care.

And so it is at 1052 W. Fulton Market: I find myself drawn into Lora Fosberg‘s text-ladden pieces at Linda Warren Gallery.
And I attribute my reaction to her subtle treatment of the material.
Admittedly, I’ve tended to recoil when confronted by large amounts of text in what is nominally visual art.
But Fosberg’s words and phrases are well-integrated with the purely aesthetic elements of her design.

Fosberg shows a deft hand when practicing the craft of draftsmanship.
Clean, sure strokes of brush and pen define figures with what appears to be little effort.
I’m caught unaware by the content, having been more-or-less lulled into a receptive state by the combined effect of the subtle tones of her palette, the easy grace of her execution, and the modest scale of the pieces on display.
Fosberg’s made visible dialogues, dialogues that, in her own words,
“suggest the familiar while maintaining ambiguity.”

As in Schneider’s show, here there are figures active in a landscape.
But Fosberg’s models aren’t literal representations of herself;
and they aren’t looking out of the frame at me — seeking my attention and approval.
No, the subjects of Fosberg’s ink and gouache caricatures are busily about their given work.

Amy Mayfield @ threewalls

Internal dialogue:

Up the stairs, down the hall, to threewalls I go.
It’s the crazy aunt’s attic in which I’ve found voodoo dolls, horror films, and even whole trees.
Tonight a heavily embroidered curtain hangs between the body of Amy Mayfield‘s installation and the external world of the gallery’s front room.
Passing through that membrane I entered a hot vermillion space.

fornus, fornax, fornix

Mayfield has wholly invested herself in the process of transforming the back room of the gallery:
choosing to place some found objects, fabricate other pieces, and treat the environment as well.
The surfaces — from the tiles beneath my feet to the walls on which framed items are hung –
are well-painted, sometimes thickly, sometimes possessing a glossy sheen.

Rising up from the floor are foam concretions that resemble stalagmites,
the floor having been re-tiled with brightly colored geometric units of her own creation.
It’s the contrast between the line quality of those two things that really strikes me.
There’s a wild, almost schizophrenic, swing from style-to-style, piece-to-piece;
the unifying compositional element being the vivid color that she favors.

Mayfield, like Schneider and Fosberg, I think, is involved in a process that is somewhat autobiographical.
Schneider, as a model, quite literally appears in her own work.
Fosberg presents artifacts of thought processes.
Mayfield manifests externally some internal space, viscerally fusing the physical and psychological.

+ + +

It says something good about the scene in Chicago that it’s now possible
to experience, back-to-back, strong shows by three women at different
points in their lives and careers. Go and compare:

Amy Mayfield @ threewalls through Nov 15, 2008

Lora Fosberg @ Linda Warren through Nov 29, 2008

Carrie Schneider @ Monique Meloche through Dec 6, 2008

[1] See: The “dazzle” cars of Patricia van Lubeck, circa the early 90′s.

[2] See: Comments on Schneider’s Derelict Self series, 2006-2007, made by
Aura Seikkula, curator of the Finnish Museum of Photography.

[3] See: False Colors: Art, Design and Modern Camouflage by
Roy R. Behrens,
Professor, Art and Design, University of Northern Iowa (noting especially the text’s cover art) for more on the relationship between art and camouflage.

[4] See: Camouflage at London Imperial War Museum, 2007;
“The first major exhibition to explore the impact of camouflage on modern warfare and its adoption into popular culture.”

[5] See: Jenny Holzer: Protect Protect @ MCA through February 1, 2009.

Written by Paul Germanos

Bad at Sports Goes to The Armory Show

Christopher — Fri, 04 Apr 2008 08:17:40 +0000

Sadly the title truthfully should read “Bad at Sports makes a mad dash in The Armory cause the phone is ringing and everyone wants you back to put out a fire” but “Goes to The Armory Show” gives it a more fun and lighthearted feel as I would have wanted the visit to be. Sadly this is the 21st century so in keeping with it; here is a caffeine induced breakdown of The Armory Show: 2008.

Getting into the Building

First off I want to say kudos to the Armory staff for doing such a bang up job on keeping an artificially long line at the front. It looks great and everyone enjoys a wait filled and confusing stall before they enter an empty foyer to queue up and pay to see art. It’s like being in College all over again just without the alcohol and women. A contemporary installation before you even enter the building.

The Layout of the fair is a upside down “T” so you can either go left and see the more modern and pop grouping of certain galleries or go right and see the more conceptual and seemingly European grouping of galleries. Either way you end up at the long “shaft” of the upside down “T” and see the seemingly more blue chip mix of work. I chose left.

The Left Ball

The work here as I stated earlier seemed to be largely Pop oriented paintings/installations and sensationalized photography. Also included is the cross marketing (which I am not against) of various magazines, websites & such in greeting booths along the left wall. I wish I had more photos of this area but planned to make a second trip and sadly didn’t but you don’t really miss much (sorry to the good galleries that I am lumping with the rest in this wing). The VIP room is also in here and as many sites will tell you the brightly colored “Rauschenberg” style exterior of the room was garish but who really cares. VIP rooms are either quickly passed up since you (and I) don’t often get in them or if you do have access to them you don’t want people in there, and appreciate it when they get chased away by it’s exterior so you can have a quiet moment for yourself.

Teasing the Shaft on the way to the Right Ball

This is when the art started to get good, feel fun and I began to hear a melody as I walked by. The showing of Galerie Bob Van Orsouw of Zurich was the fist showing I saw that felt really coherent and spoke in a rich and varied way to me. It had different works to show (video, painting, sculpture) and made you forget that there was a larger fair going on. That being said it really did take the Pop sensibility of the left wing (the painting titled 3rd Party by artist Wawrzyniec Tokarski which depicts a very Pop moon with 20th Century Fox style text was right out of a Taschen book on the Pop work of Edward Ruscha).

The walking man light/animation installation part of the Zurich works again was nothing new but was very enjoyable and brought some life to the show.

The Right Ball

Turning the corner brought you the work of Ulla Von Brandenburg from the gallery Art:Concept in Paris, France. Before I say anything else about the work of Ms. Von Brandenburg I want to take a moment and say again for anyone who does not know: sloppy or completely absent information cards next to work is not clever or hip or cool, your a douche. If I have to play the guessing game because you can’t afford the money or patience to put a small 1.5″x3″ card next to a work with the name of the artist, title and year at the very least ( I would also love medium and gallery name since when I do a review I photograph the card for reference) then I get to touch the work with my grubby fingers to figure out the medium and call it “That thing with the big boobs that turned Duncan on”.

Put one title next to each work in a predictable fashion, not three names next to three works or no names next to the shit I have already forgotten about before I even passed it.

To get back to Ms. Von Brandenburg it was cool and spoke to me in ways that are to long for this review but was a good series that only suffered from the quality of the newsprint it was on.

Moving onto the Ugly part of the Good and Bad brings us Ryan McGinley’s second most iconic photo. I have seen this in print many times and when I caught a glimpse of it I was very excited to see it up close. Disappointment doesn’t begin to describe it, I don’t know if this is how his photo’s look in real life or if this was a bad reproduction but when a print reproduction has more general focus, color range and appeal then an original then you have a problem. It was a blurred and seemingly badly printed mess that let me down considerably.

Thankfully I was able eject his gallery representation from my mind when I looked forward and saw the single worst excuse for a gallery presence in the Armory Show. Magnum Foundations showing of the greatest hits of National Geographic and the AP Photo staff. What this was doing in the show I have no idea and would love for someone to inform me because if it’s goal was to make me laugh, mission accomplished (or as some might say “epic fail”).

The “squid is the new deer” of the Armory show this year seemed to me to be the theme of layering images as metaphor of this complicated, complex and busy life we all lead. This was best and worst performed by Gallery Sfeir-Semier of Hamburg artist Hiroyuki Masuyama and his LED lightbox composite image tribute to Turner’s Approach to Venice, 1884. This was interesting and original and gave me lots of visual and mental enjoyment for all of 5 minutes. Then like all candy, the rush was over and I was wondering what I got excited over. Still excellent execution even if the idea is a bit old in a new tech way.

Michael Joo of the Anton Kern Gallery, New York showed off one of the most interesting works for me in the whole show. It was one of those pieces where you are not really sure why but you feel a kinship with it. Again I can not tell you it’s name since it’s card has nothing beyond the artists name (which was placed no where near the piece). The director I spoke to about the work was wonderful and pleasant but like all gallerists these days he was more then willing to have me think whatever I wanted to about the piece and the view of Mr. Joo was not really covered leaving one to sadly question if there was a backstory/subtext to the work.

Following the Shaft (and this sad metaphor) to it’s Long Awaited Finish

Again the 3 different sections seemed to have a distinct theme and now I was entering the longest grouping to see the largely blue chip & likely up and coming work. To start off by getting the crap out of the way may I say to Gerald Davis and his Leaf House painting presented by the Black Dragon Society Gallery. Being a second rate Will Cotton is no way to live a life. Many people don’t like his works for various reasons, but being the dark gloomy low contrast half cousin isn’t something to strive for. It seems this is a new route for you and getting off that bus now isn’t a moment to soon.

Then you have the “I went to NYC and all I got was this clever painting” award which goes to Thomas Locher who’s work is a rehashing or earlier work that says in a round about way “You want this painting because I have made this painting for you to want” this is both trite and elitist even if it knows it is being trite and elitist. Saying “I have nothing to say” doesn’t get you out of having, in fact nothing to say. That being said, if every piece of art had to say something new or focused we would all be going to 1 art fair a year.

To sum up a grouping of work quickly, Jenny Holzer was fun for me again (largely due to the change in color scheme, don’t ask me why) but a lot of other people had problems with the work. The main gripe was the war references but again for me I had no such issues.

Sudarshan Shetty’s Untitled (really? you have hundreds of little Taj Mahals stacked on each other next to skeletons and I am supposed to believe that the work has no title? that the work didn’t speak a name to you?)
was fun and visually striking. Oddly the most important peice of the installation for me was the deep red carpet and without it I could easily view the work differently. Also the “Untitled” with the skeleton under the Taj is much weaker then the Taj under the skeleton. 100 little Tajs on the ground says it all for me you don’t need a second in the air.

The much vaulted diamond skull of Damien Hirst was in the Armory if only in print form. This was fun and chromatically dynamic up close. Lots of fun, and quickly left. Still I say the work will be remembered years from now as one of his best pieces. Not saying that it is; just that I will be recorded that way. Mark my words just as I said that HD DVD would win, the diamond skull will be one of his high watermarks.

Bettina Pousttchi’s Lord Hetley was great and made me stop cold in my tracks. I really , really wanted it to be a painting and not a photographic print but regardless it not only looked great but made everything around it look better.

Eleanor Antin’s photos are neo-classical porn, call it what you will that is what it is and nothing more. Big sharp images of well formed breasts that hide behind their humor. To that I say shame shame on you for not showing more. After the day I had they were a welcome break even though it’s still just high minded soft porn.

There was more but right about this time I got my phone call to rush back to work and I want to take this moment to thank The Armory again for making the layout or density of the show as such that I had perfect cell reception at all times in the building. I can not tell you how much FUN it is to be taken out of artistic bliss by a work call 100 feet deep in a expo. Next year can some artist do a piece with a transmission jammer just so that we all can get some peace

In Summary

The show was good, higher enjoyment factor then the average fair and very well executed. The coverage was balanced and fun with something for everyone. As a wise main once said on this show melancholy is seemingly high praise in today’s art world and I felt 2008 was a good year for the Armory so let that say whatever you will about it. Now let’s hear everyone else’s thoughts!

You Fucking Sellout.

duncan — Tue, 12 Feb 2008 00:03:51 +0000

Lori Waxman sent me a note today saying that I had too check out this blog and post something about it. She was right. I love the Sellout Blog.

It is the perfect blend of useful information and random “experience of life in the arts, style life dissections.”

Other notable blogosphere art things…

Art Info Updated their site design and have been posting steadily and it is often worth checking out for Museum and blue chip level stuff.

Art Review magazine rebuilt their whole set up to be the most bizarrely exhaustive art site on the interweb. Part Art Magazine, part Art MySpace, and part open source art blog, it proposes itself as all thing contemporary art. It might be but it is so big it scares me and I open it an have trouble remembering what I was looking for.

I also have to mention New Art TV which is an all art, web oriented video “channel.” Because who doesn’t want to watch Alex Katz talk about his boring paintings. (It is better then the paintings themselves)

That Darn Melanie Schiff

duncan — Tue, 29 Jan 2008 01:08:29 +0000

Melanie continues to be one of the freshest bright lights in Chicago Art community!

Aside from teaching, making, and curating as any good young Chicago artist does, she is one of only two Chicago based artists (Jennifer Montgomery is the other) in the 2008 Whitney Biennial and is featured in a sizable article in the new (Feb) issue of Modern Painter.

(Although it is not the issue currently featured on their site)

Our “hats go off” to one of the great active members of this art community who deserves all the attention she can get.

Episode 125: Tim Fleming/Art Reviews

Christopher — Sun, 20 Jan 2008 21:41:42 +0000

Author insert a music with WS Audio Player.
(Download) this music.
download

100 minutes of raw power! Brian and Marc talk to Tim Fleming, Director of Art LA. If that weren’t enough for a whole show, we go that extra mile and knock your socks off!!!

Lori Waxman and Duncan check out the current batch of shows around the West Loop. Did they review your show, oh yes they did, you’d better listen.

Tim Fleming
Art LA
Artforum
Seven Three Split
Bucket Rider
Butcher Shop/Dogmatic
Pedro Velez
Jose Lerma
Scott Roberts
School of the Art Institute of Chicago
The Stray Show
Art Chicago
Tom Blackman
Melissa Schubeck
Joymore
Standard
David Roman
1/Quarterly
Daniel Hug
Heather Hubbs
Guido Baudach
Taka Ishii Gallery
Tomio Koyama Gallery
LA Art Show
FADA
Photo Miami
David Cordanski Gallery
China Art Objects
Alexis Johnson
Superflex
The Armory Show
Frieze Art Fair
Fred Snitzer
Patrick Painter
Michael Lett
Jeffrey Rosen
Bortolami Gallery
Hammer Museum
Dean Valentine
For Your Art
DAP
Mark Wallinger
Donald Young
Thomas Eakins
James Everett Stanley
Juan Angel Chavez
kavi gupta
John Isaacs
Nathan Mabry
Lorna Macintyre
Sterling Ruby
Felix Schramm
Michael Stumpf
Tony Tasset
Carrie Secrist
Ed Ruscha
Laura Owens
Bodybuilder and Sportsman
Phillip Guston
Portia Hein
Three Walls
Heather Mekkelson
Rhona Hoffman Gallery
Siebren Versteeg
Walsh Gallery
Zhang Qing
Navta Schulz Gallery
Jason Hackenwerth
Gescheidle
Nicolas Lampert

Direct download: Bad_at_Sports_Episode_125-Tim_Fleming-Reviews.mp3

Brian and Marc review Tony Lebat’s “Bulk”

Brian Andrews — Wed, 09 Jan 2008 01:40:56 +0000

Brian and Marc recently collaborated on a review of Tony Lebat’s Bulk at Queens Nails Annex for Shotgun Review. Here’s an excerpt:

“Tony Labat’s exhibition Bulk opened to throngs of art students, smoking and drinking on the sidewalk. At first, the event seemed like any other gallery reception. However, as a show focusing on the manifestation of social relations in an art event, the students hadn’t come to see anything in particular, but to rather simply be with one another. With the gallery’s main space converted to a bar, complete with amateur bartenders, swill cocktails at criminal prices, and makeshift wooden tables; Bulk turned Queens Nails Annex into a speakeasy, one built like a cheap theatrical set.

… Bulk’s events have drawn together those who share in a common perspective – art students, gallerists, curators, etc.- participating in their prescribed roles of social exchange and power dynamics, as if the events had a written script. The exhibition doesn’t challenge itself to compose the audience, who provide its labor, or translate their efforts into meaning. Any examination into the relationship between the mechanics of audience as a means of production, and how it conditions the possibilities of interpretation, is absent. Without intervention, the events emerged as expected; codified and rigid. Creating work that fosters social relations shouldn’t reduce an event to the calling together of a coterie, turning the artist into a socialite of aesthetics whose practice would be a chain of well-hosted shin-digs. Bulk is emblematic of this festivalist, lackadaisical attitude that’s far too common in contemporary art.”

The full review can be found on Shotgun Review. This writing is an extension of a survey of the San Francisco art scene Brian wrote for Artnet.

Bad at Sports » Art Review

ART REVIEW HAIKUS by amanda browder

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In Summary

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