The primary takeaway of Brand New at the Hirshhorn is its demonstration of how high the stakes of representation became during the 1980s, a decade of proliferating imagery and technology.
The inaugural exhibition at the new Whitney Museum of American Art, which opens to the public today, is predicated on the elusiveness of a cohesive and stable national identity in the United States.
The inaugural exhibition at the new Whitney Museum is not perfect, but it is pretty damn good.
Marianne Boesky, you saucy little wench! Mine eyes had never taken you for propagating such a meat market amidst such stagnant clinical settings. You always seemed more the proper uptown type, rather than mistress of Manhattan’s nether regions.
Now that I’ve gotten that out of my system … walking into Ms. Boesky’s current five-man exhibition I felt at any moment some Neanderthal would ambush me from the rafters to have his way with me. Focusing on the more brutish and texturally risqué works of Jorge Eielson, Donald Moffet, David Noonan, Steven Parrino, and Salvatore Scarpitta, Stripped, Tied and Raw is a wonderful exploration into the power of fabric as sexual metaphor and how a simple fold can be much more than the sum of its parts.