In 2003, Daisy Youngblood collected her MacArthur prize and decamped to Costa Rica. The sculptures in her current solo at McKee Gallery, Daisy Youngblood: Ten Years 2006-2015, covers the work she’s done since, a ménage of animals and humans, clay and hair, rocks and sticks, where the mythic is extracted from the dregs of the earth.
It’s a display of mostly gallery artists, perfunctorily titled Fall 2014 Group Show and hung without an apparent organizing principle. There isn’t even an official closing date.
There is still a story to be told about Philip Guston (1913–1980) and Jackson Pollock (1912–1956), who met at Manual Arts High School in Los Angeles in 1929, and were expelled the following year for handing out a broadside that ridiculed the English faculty for their conservatism. Pollock was later readmitted to the school, but Guston never went back. It is a story about acceptance and rejection.
The ADAA Art Show marked its 25th anniversary this year, and the 2013 edition at the Park Avenue Armory was definitely a very mature, stately fair, with only the slightest of dark undertones to its otherwise unsurprising, but elegantly sleek, presentation.
In a nervy move, the British-born, naturalized-American sculptor William Tucker is currently presenting an exhibition of two bodies of work separated by nearly forty years, a contrast which could very well have left the new work looking overblown and the old work feeling timorous.