Tuesday, June 23, 2009

ZOMG Art Safari: "Practice, Practice, Practice" @ Lora Reynolds Gallery, Austin, TX

Robert Cumming,
Ritz Cracker / Asshole

Another brief one before the real deal shows up... For all those internet cruisers out there, after you check out
this, I encourage you to check out this serious business going down in Longhorn country. Granted this recommendation comes with hopes for atonement for never posting a review of Jay Sanders' truly excellent White Columns '08 year-in-review show, this new show--curated alongside Michael "the-only-artist-to-ever-get-a-Showtime-series" Smith--presents a gaggle of artists whose work encourages the merger between conceptual procedures and the everyday baseness that often serves as the sole instigator for human productivity (not terribly different from Smith's "Mike" performances). While some of the artists I could go without (peace, Moulton!), the witty combos of Robert Cumming's weird postconceptual photos with John Water's couldn't care less art, Rachel Harrison's digi-collages of Mastercard ads with John Kilduff's Gold's Gym neo-expressionism and Aura Rosenberg's photo series "head shots"--the facial expressions of many famous male artists while they blow their load--are worth the price of more than a few clicks of your time.

P.S. if you're up for some wicked internet down time, check out Kilduff's youtube page.

Stuff You Will Hate Drops A Donk On It!

Totally superfluous post to fill some of the void as I prepare an exceptionally silly review of Gareth James current show at E. Dee Gallery. I use the word superfluous only because I've already devoted another (recent) post in ode to this fine fellow of the blogosphere: MI's Sargeant D. The pioneer of the term "wigger slam" has stepped out with a side project, the already excellent blog
stuffyouwillhate.com. Detailing the near-lobotomized (in a good way) fineries of contemporary music (other things too, maybe?) and its unthinkable inanities (screamo-crunk, for example), this blog sets a high standard (in the lowest way possible) in its appreciation for the most (ant-)agonizing incarnations of cultural production at work within the world today. I find the "misuse value" of his preferred musics' of great aesthetic worth; a potential animus to the political hegemon(s) of nowadays culture.

If you like this blog (anyone?), I highly recommend you check out where I learned (and am still learning) all my moves: http://www.stuffyouwillhate.com/

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