Two Coats Selected Gallery Guide: May 2019

To everyone who has struggled through another academic year, final crits are over, so the time has come to get out and see some shows. We don’t usually put museum exhibitions on our list, but don’t miss the 2019 Whitney Biennial, which opens this week. I went to the press preview, and I have to agree with Andrew Russeth (at ArtNews) who … read more… “Two Coats Selected Gallery Guide: May 2019”

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Pregame Painting Report: 2019 Whitney Biennial

The 2019 edition of the Whitney Biennial, on view May 17 through September 22, was curated by Whitney Museum Associate Curator Jane Panetta and Assistant Curator Rujeko Hockley. Each has experience curating painting into group exhibitions, which means we should see some relevant, maybe thought-provoking, work on canvas (or related material). Hockley came to the Whitney in 2017 from the Brooklyn … read more… “Pregame Painting Report: 2019 Whitney Biennial”

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Murakami’s marketing organism arrives in Brooklyn (yawn)

If you’re interested in the Murakami spectacle, check out the roundup of reviews TCOP ran when the show exploded in LA : The Takashi Murakami brand at Geffen Contemporary. Meanwhile, back in the present, in this week’s Village Voice, R.C Baker goes Murakami. “Having sold miniature versions of his sculptures as ‘snack toys,’ Murakami has … read more… “Murakami’s marketing organism arrives in Brooklyn (yawn)”

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America’s Lessness

My contribution to the April issue of The Brooklyn Rail considers the notion of readymade color, the implications of the current Whitney Biennial, and the fleeting nature of symbolic and political meaning. “At the Museum of Modern Art, the current exhibition ‘Color Chart: Reinventing Color, 1950 to Today’ examines two separate but related meanings of … read more… “America’s Lessness”

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“Mediocre art in expensive frames”

Two Coats of Paint won’t get to the fairs until tomorrow, and I suspect we’ll love the sheer volume of paintings (a good antidote to the Biennial’s lack thereof), but Paddy Johnson at Art Fag City declares the Armory a snooze. “With even more boring art than usual hanging on fair walls, even those who … read more… ““Mediocre art in expensive frames””

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“Painting is only the prop”

At Catherine’s Art Tours blog, art historian and critic Catherine Spaeth assesses the importance of painting in Whitney Biennials past and present. “One of the things that strikes me about this show is the stated embrace of failure. In her own voice, Ellen Harvey says through the headset that her painting installation Museum of Failure: … read more… ““Painting is only the prop””

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“A No Paintings Biennial would’ve at least made everyone hysterical”

Jerry Saltz writes that the Whitney Biennial curators obviously have eyes for installation, sculpture, and video only. “There are 81 artists in this show, only seven of them painters by my count. Four of them—Olivier Mosset, Robert Bechtle, Mary Heilmann, and Karen Kilimnik—have been lauded for years. The youngest painter, Joe Bradley, 32, contributes three … read more… ““A No Paintings Biennial would’ve at least made everyone hysterical””

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“Bitter slog” for painting in the Whitney Biennial

“Devotees of painting will be on a near-starvation diet, with the work of only Joe Bradley, Mary Heilmann, Karen Kilimnik, Olivier Mosset and (maybe) Cheyney Thompson to sustain them. Hard-line believers in art as visual pleasure will have, poor things, a bitter slog. But if the show is heedless of traditional beauty, it is also … read more… ““Bitter slog” for painting in the Whitney Biennial”

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2 Biennial artists in the MassArt family

My alma mater sent this notice today, and since the Whitney Biennial’s painting selection is pretty skimpy, I’m passing it along as my primary coverage of the event. “Massachusetts College of Art is pleased to announce that two of the MassArt family are included in the Whitney Biennial 2008 from March 6 – June 1, … read more… “2 Biennial artists in the MassArt family”

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