Gallery Goings: from Pettibon to Collins

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Brief recap of gallery exhibitions from October 2, 2013.

Aldo Tambellini We Are the Primitives of a New Era at James Cohan Gallery
Blows everything away. Read review here.

Raymond Pettibon To Wit at David Zwirner
Pettibon’s ongoing original narrative on America culture with his interest in language, humor, film noir, baseball, and surfing now includes personal expositions on his family (wife, son, dog). 

David Noonan at Foxy Productions
Theatrical in content, David Noonan’s de-sconstructed works usually hold a mythologized quality to them that’s sooky and enchanted. The interest in his new works that appropriate images of Butoh (Japanese experimental theater) lies less in the abstracted imagery and more in the politicized content the group embodies. 

Michael Raedecker at Andrea Rosen Gallery
While it may be tempting to discuss this work solely in terms of its formal qualities, it seems far more interesting to discuss the embodiment of suburbian norms through seriality and literal inversion in a nearly post-apocalyptic landscape.

Damian Ortega at Gladstone Gallery
Twenty-five suspended steel objects, each lit by overhead lights, cast shadows of the alphabet. Considered this a spatial call for a new language. STUNNING. (see image)

Phil Collins at Tanya Bodakar Gallery
Installations where the viewer must participate in order to fully comprehend the work aren’t really where my interests lie but Collin’s video The Meaning of Style is a mesmerizing commentary on the appropriation of subcultures (in this case, UK Skinhead culture). 

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Film influences: David Noonan

In Frieze’s October 2006 Life in Film London-based artist David Noonan discusses, amongst others, two influential horror films: Susperia and Toby Dammit (which is certainly one of the most surreal and insane Poe adaptations in cinema). Noonan’s screenprints are filmic in themselves. A collage of images from movies, books, and magazines, they are haunting impressions of a scene that vibrate with a sense of performative movement. See his most recent exhibition at David Kordansky Gallery in Los Angeles.

In Suspiria (1977), directed by Dario Argento, an American ballerina enrols in an exclusive ballet school in Germany and becomes embroiled in a witches’ coven bent on chaos and destruction. The art direction is astonishing and overshadows the acting; the film is saturated in a very unnatural palette, which heightens its sense of unreality, right down to the wallpaper designs by Escher. The baroque, flamboyant soundtrack is by the Italian Prog Rock band Goblin and is a masterpiece in itself. The murders are theatrical and balletic; the film is like a violent opera.

Federico Fellinis’ short film Toby Dammit (1968) is part of the trilogy, ‘Histoires Extraordinaire’, also known as ‘Spirits of the Dead’ after a short story by Edgar Allen Poe. The film is complete with Fellini’s trademark references, from circuses to paparazzi, stardom, kitsch and glamour. The film stars Terrence Stamp at his finest: an alcoholic, self destructive thespian lured to Rome to appear in a television show by the promise of a Ferrari – in other words a Faustian pact. Fellini conjures an extraordinary, creepy atmosphere, and Stamp’s crazed, decadent performance makes it all the more powerful.

Image: Leicester Square, 2005, Archival inkjet on paper from paper collage (not one of the more filmic works but one of my favorites)