Posted inArt

Poor Forrest, Dead and Gone

To walk into the artist Robert Gober’s installation of paintings, photographs and writings by Forrest Bess — a visionary painter and self-described, self-surgically-altered “pseudo-hermaphrodite” — was to encounter art frontloaded with (as the reader put it) “cultural significance while also being visually intoxicating, or mesmerizing, you can choose a description.”

Posted inArt

Stealing the Triennial and Other Neat Tricks

As good as the last Triennial was — and, all qualms, quibbles and philosophical differences aside, it was a pretty good survey of emergent art — what it didn’t have was a monster.

Adrián Villar Rojas’ “A person loved me” (2012) has already achieved show-stealer status at The Ungovernables, the second installment of the New Museum’s Triennial, snagging a feature by Randy Kennedy in The New York Times with the sweeping headline, “A Colossus in Clay Speaks a Generation’s Message.”

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Toppled

I can’t say I wasn’t charmed by Marble Sculpture from 350 B.C. to Last Week’s title, though it’s a tad overblown. And I was pleasantly surprised by the almost gauche clutter I encountered on the gallery’s routinely Spartan first floor, with thirty-one midsize-to-extra-large artworks from wildly different historical periods crowded together like refugees from an intergalactic conflict.

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God’s Eye View

Somehow I missed the 16,400 internet posts reporting that the ill-fated luxury liner, Costa Concordia — presumably still on its side in the waters off Tuscany’s Isola del Giglio — was the setting for the first act of Jean-Luc Godard’s latest feature, Film Socialisme (2010).