Review
March 15, 2019, 4:37pm
Personal Stars: Maia Cruz Palileo at Monique Meloche Gallery
She has finally come, born across centuries and oceans and the yawning gaps of the pied world hewn for us and by us from the flesh and bone of the Earth, across the ragged expanse—flesh hanging like foliage, necrotic, mycological and un-healing as the hearts of men (men especially, here, not “men” as the priapic stand-in for all humankind, which is a fucked up way to think and really truly indicative of the kind of men we are being dealt with here, men who happen upon a glorious verdant chain drawn across the vicious expanse which hides in it the horrors of our world, the planet's calid sacred heart, the shifting red, the immolating ring born on the Jovian finger of the true ruler who we have betrayed, just like we're betraying each other, or more specifically in this case these men are betraying each other), the men whose claret-caked hands have driven the bayonet, twist the aperture far beyond the fibrin, wipe clean the entrails and drive forward again—and she has freed, has excised, has extricated the men's targets, with a deific scalpel, debridement as deliverance, from the burdens of white men, from the alien words which fall hard, knocking teeth over like tombstones—cultural vandalism!, vandalism-cum-conquest, petty and political, in the sense of all structures being re-sorted, the scaffold a literal skeleton—as they drop like a bird kill; has cut them free of the white cloth which is the funeral veil of their own humanity, the very backdrop to the cruel slavery of scare quote science before which they pose dead on and in profile, the twin portraits of prisoners and objects, and placed them instead in the tabula rasa of a sympathetic and empathetic framer …
October 12, 2018, 3:56pm
Crushing the Can: Wendy White
Oh!,my good fucking God can you hear it?, that low sounds like harnessed thunder, that rumble of plates and paradigms being pushed, the trembling, the shuddering, heaven-shaking, deity-quaking--because He is hiding—kraken's roar of an engine, an engine of creation through destruction, God's Own 1972 Plymouth Scamp column cracked and with the proper hand finally at the wheel, stepping down, stepping hard with all the driver's got, dropping that pedal like a guillotine and shredding denim and the very fabric of time and space, ripping loud and fast though an amalgamation of the decades of the American man, the formative years when the whole bloody disgusting thing, the thing which we're witnessing the apex and nadir both of now—an extinction boom, the rage-filled cry of something mortally wounded, the eyetooth corner, the coiled snake striking forth from the fly, the death rattle, please let if be the death rattle!—this hypermacho, alpha-male, dick-in-one-hand, beer-and-throat in the other toxic masculinity, and she's crushing that can now;
April 27, 2018, 1:47pm
A Celebration in Dallas: Nicole Eisenman at One Night Only
Quietly nestled in The Cedar’s neighborhood, just south of downtown Dallas, is a humble shotgun style historic home. Within the past few years this private residence has functioned as a flex space, an arts incubator of sorts, hosting private events with renowned outsider and folk artists and other community focused creatives. The house is operated and managed by a cohort of neighborhood designers and artists, one of which is conscientiously preserving the character of overlooked structures and houses in The Cedar’s, with this shotgun residence being a shining example of his efforts. - Arthur Peña, Dallas Contributor
Photo by Kevin Todora courtesy of Anton Kern Gallery
April 21, 2018, 9:23am
Animal Hearts and Alprazolam Eyes: Nikki Maloof at Shane Campbell Gallery
They seem to be … scanning … searching … through the white walls and white light, past Cermak … beyond Brooklyn … these massive, searching, scanning, yearning, alprazolam eyes, wide and wet with an anxious energy belayed by the piano-wire purse of their mouths, and it's a funny thing, seeing this menagerie—a stallion deep and dark and strong and arresting as the abyss; a wind blown canine the color of youth soccer and science fair trophies, its ears moving like a model's hair; cats with the casual repose of Instagram influences, languid echoes of Versailles; a bat neigh-indistinguishable from its night, wings face fur rendered in dried russet, a tropological coagulate crowned, like all its mates, up to and including the dead fucking fish, with those eyes—these eyes, with complete disregard for science and anatomical fidelity, tasked not with anything so brute and beautiful as physiology but instead being bent towards the philosophical, giving every animal here a look that's not of them, and not of us—the eyes aren't human; more super-human, really, uncanny, like anime eyes whose very size and depth seems capable of expressing exigency beyond anything but reality—but is of a universal human feeling, that painful, wistful vibe, hope tinged with fear as we scan the horizon, check the sidewalk, hold our breath for a text, the scars in our eyes reflected back at us—with vibrancy and humor and the alienation requisite for recognition—in Nikki Maloof's creatures, the Arecibo Observatories set within their skulls scanning, searching, complete heterochromia combing the distance, the Klonopin horizon, for an intelligence they don't fully understand, every pet part of SETI … – B. David Zarley , Chicago Contributor
Nikki Maloof | Her Name Is Ut Pictura Poesis, 2018. Oil on canvas. 72 x 61 inches. Image courtesy of the artist and Shane Campbell Gallery, Chicago. Photo by Evan Jenkins.
February 25, 2018, 8:45am
About the Shape of It: Magalie Guérin at Corbett vs Dempsey
God, let's just start with a list, right?, and if it seems a bit daunting, just imagine poor fucking Linnaeus, setting forth to categorize sundry and all living things, whereas this is but a brief run-down and accounting for of some of the shapes-a sampling of the vast geographic ecosystem-of Magalie Guérin's (NAP #119) worlds, shapes anatomical/biological-flesh-colored trash bags, barred teeth, raw nails, conch snail shells-shapes mechanical-vintage car grills and taillights and doors and bench seats, mid-century modern chairs, shafts of lamp light from a noir gumshoe's desk, perfume bottles, awl handles, backsplash tiles, famished walls with studs showing, the glowing jukebox flanks of a sci-fi set, the curled remnants of a high school art class pastel set's cover paper, the ribs of rent cardboard-all nestled up amongst each other in the cool colors of pallid death or the never-living, enamel and sclera and cream and subcutaneous fat, contractor wall color and brutalist concrete and refrigerator light … and the paintings are none of those things, not really; well, they are all of those things, but only to me, on a Sunday morning in February, aided/impeded by time, distance, memory, an exercise in form until the very end … - B. David Zarley, Chicago Contributor
Magalie Guérin | Untitled, 2017. Oil on canvas on panel. 20 x 16 inches. Image courtesy of the artist and Corbett vs Dempsey, Chicago.
November 18, 2017, 9:11am
John McAllister: Shimmering Surface, Phosphorescent Undertow
Beauty is a troublesome thing; but pleasure is even worse. Beauty offers ecstasy in redemptive and occasionally bittersweet truths. Pleasure, on the other hand, is grounded in desire, and desire invites all manner of perilous things. Like a riptide snaking its way towards shore, pleasure cloaks itself as beauty, luring the unsuspecting in and then drawing them out to sea. - Alan Pocaro, Chicago Contributor
John McAllister | botanic haunting soft-static, Installation View. Photo Courtesy of Shane Campbell Gallery
October 10, 2017, 12:51pm
Cassie Marie Edwards: The Porcelain Menagerie
What they lack in accuracy—or, like, even resemblance—they more than make up for with essence, with vibe, you know?, the kind of exaggerated impossible realness one finds in boardwalk caricaturists and political cartoonists and magical realists that serves as shorthand and signature and x-ray and fMRI all at once … the owl, white as terror and blank as fear, for example, the cold, clean lack of hue that instantly calls to mind Empire, logic, rhetoric, chin tucked and beak silent under brows pointed as the tip of the spear, his wing falling across his shoulder and back like a pallium, a majestic senatorial little creature, from Minerva's court to the curio cabinet … or take whatever beast that is, with its haughty pout and crimson lip, tarantula leg eye lashes and pink bow, perhaps a puppy but reading more as a kitten—anatomy be damned!—as she most definitely possess that ruling feline trait, the intoxicating insouciance with which they have courted our love and desire for approval for centuries, that fickle heart blown out, amplified, drawn across her lips, looking like the love interests that would drive old Tom to mutilate himself in search of a living gift … and then the lesser critters of the copse and field, the squirrels and rabbits and chipmunks and fawns and field mice, arrested and frozen—animals which vibrate with anxious muscle and survival instinct—and finally able to be examined, loved, doted on, adored, those fleeting moments when one locks eyes before the animal in questions dashes away, your lingering love banging like a chestburster against its ribcage, tearing through yards and hedges while you are tearing with unrequited affections, well, we've fixed them, haven't we, all of them, twisted nature yet again—and not without true ecological impact, as is, being the mightiest of earth's creatures, our wont—and created bespoke wild for the everyday person, a one-time cost collection of pets to keep in the home, evoking both recoils and coos, the porcelain menagerie…- B. David Zarley, Chicago Contributor
Cassie Marie Edwards | Uninterested, oil on canvas, 2017. 16 x 16 inches. Image courtesy of the artist.
July 12, 2017, 8:39am
Positive Mass: Chris Uphues at Linda Warren Projects
It's radiant, really, fucking radiant in that flat-flash, bursting way, the terrible beautiful brilliance of a blank screen or the momentary dawning of a second, subjected sun—wrought by us, meant for us, heat and power of the kind which makes people gods—over a blighted Pacific atoll, radiant and giving off a palpable …vibe, a kind of psychic heat, Heavy Sunshine, buzzing from the apian engine which drives it with the cosmic exigency which only derives from density, an immensely dense little star of positivity, happy imagery—flowers, mountains, clouds, houses, bees, bunnies, books, baseballs, brick facades, bananas, watermelon slices, apples and pineapples and mushrooms, computer monitors, keys, clocks, lampshades, pyramids, the majority made animate, all gaping eyes and content smiles stretching across their faces like cats in a sunbeam—condensing into a heavy star, loosed now and setting in to a dark sea obliterating, by virtue of its weight, all that lays before it, so long as any wavelength still finds its mark among the rods and cones; a washing over of giddy happiness, all of the sudden made manifest—like the soft dolphin clicking which makes background radiation real—by an ecosystem fed by the heavy sunshine, lapping up those vibes, spilling out from the walls and onto the floors, grass, green grass, too-green grass, the putt-putt Eden which will never die and upon which sprout fungi whose life cycles are not derived from the decay of matter, but instead of inhibitions, fears, doubts, angers, hatreds, anxieties, all manner of varieties of the grossly negative which stick, plaque-like, to the brain, and all of which are obliterated—that's the only word, the proper word—by the heavy sunshine of the radiant little dense positivity star, burned and devoured in the light of weaponized joy, the kind which dissolves people into paroxysmal saline puddles of tears and teeth, gratitude etched across each grin by benevolent, indomitable force…– B. David Zarley, Chicago Contributor
May 25, 2017, 9:28am
Jean Alexander Frater: Fold; Don't Spindle and Mutilate
What it looks like is, ok, like the hurried ancillary sculpture of an active hand, like a Monument to a Moment, the slip—in the course of creation—of fabric, the errant falling and perfect, frozen fantastic memory of a bolt in some divine designer-artist's atelier, a static haint of a kinetic flourish, the same ephemeral, cigarette-smoke beauty we find curling from a hot cherry or in the letting down, the glorious, luxurious exhale, of an up-do or cascading over the side of some steep embankment, Niagara, Victoria, Angel; it looks like the terrible, painful Monument to a Moment One Would Rather Forget, like a broken arm—the radius and ulna snapped through, the spasming, spider-sprayed-with-bleach digits dangling, the grotesque thing held together by extensor and flexor carpi radialus, flexor and extensor pollicis longus and brevis, radialii, digitorums, palmaris longus, pronator teres, the lonely exertions of the biceps brachi—but only when viewed with the negative and corporeal in mind; it looks like mis-caught pizza dough, with its pallid spine draped over the hand like an examined necklace, or a sea cucumber being garroted, and only all of these things—minus the textile—if one ignores the colors, the combination of GO Transit green and raw, creamy canvas, which gives it a Gilded Age flair even as gravity leaves it dangling in its belly, but what Green Stripes Event (so perfectly named!) does not look like, at first blush, is a painting; it's obviously painted, of course—those stripes aren't woven, didn't come from nowhere—and has those various things a painting would have, where it to be broken down anatomically—and it is the protrusion, like a compound fracture, of the painting's support, broken at the top, dangling at the bottom, which gives it both its injurious and closet-ready qualities, although the former is far more important, and keeping with the spirit of the show, than the latter—but it does not sit like a painting, compose itself as a painting should, back straight, belly tight, against the wall, a tidy lie, telling us that it exists in two dimensions… - B. David Zarley, Chicago Contributor
Jean Alexander Frater | Green Stripes Event, 2017. Acrylic on canvas and support, 78 x 40 x 14 inches. Image courtesy of THE MISSION
March 13, 2017, 12:34pm
Cinema Fatalité: Ben Murray at Monique Meloche
Up close, buried in it, approached with a loupe, it feels like … Christ …. like static on the wire, like the first crepuscular creepings of dextromethorphan—mucilaginous medicine the color old blood sloshing down sulci and optic nerves and then back up again—like a cataract, hot shimmering light and textual fuzz, an uncanny fading in, selachian skin rising up from a great obfuscating darkness—the darkness of the upstairs hallway when someone other than your parents had to put you to bed; the darkness of water the first time you are bifurcated by it; the darkness of every corner after a horror movie; the darkness of depths, of fainting, of dying—which is, despite its nature, because of it? you recognize the darkness, it's the door, but you don't know it, but it's shimmering, glistening, with promise and menace both—don't shark eyes glisten, and cobra hoods, and hypodermic needles, and freshly mopped floors, and sugars and fruits and feathers and halos?—and the simple fact of the matter is, presented with nothing but this great obfuscating black door, cruel Janus!, which seems to shine like the cheek bones of a post-performance circus artist and the soft spears of light the color of heliotropes, the gentle envoys of the blinding OR brightness behind the great obfuscating black door, you have all manner of reference points—a lifetime of them, memories and experiences and impressions and moments—but not a single solitary fucking cardinal direction; is the door holding something back? is it holding you back? should you go through it? should you hope and pray and scream and kick so that you never cross its threshold?
Do you die? – B. David Zarley, Chicago Contributor
Ben Murray | CLOSE – DOOR, 2017. Acrylic and ink on canvas, 84 x 78 inches. Image courtesy of the artist and Monique Meloche Gallery, Chicago.
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