A year of truth-telling and electric painting.
In her project This Little Piggy, Elaine Tin Nyo is forcing an engagement with the wages of survival against the desire for pleasure, and our unwillingness to tease them apart.
The exhibitions that rippled through our cultural fabric over the past year, at least those occurring in and around New York, have registered the predictable number of highs and lows, though 2014 did manage to plumb one nadir unlikely to be matched for a good long time.
First there was a solo show by a painter’s painter, and then a slice of sour cherry pie from a food-based conceptual artist. That they were encountered on the same day was by accident and not by design, which is the way art happens much of the time.
Memories fade. That’s the one good reason, as far as I can see, to compile an end-of-year list. It’s sometimes startling to retrace what attracted my attention over the course of a year; it is also instructive to determine where such a miscellany of shows fits in with ongoing areas of interest, and which ones, in hindsight, merited the time it took to review them.
As the blue Prosecco-and-Curaçao cocktails were passed around, I asked Elaine Tin Nyo, the artist and ringleader of Edible Magritte, an after-hours event at the Museum of Modern Art (MoMA), if we’d be eating eyeballs that night.