Liliya Lifanova’s Rumour from Ground Control is a modestly beautiful exhibition.
Mention Joseph Beuys’ name and the usual iconic gestures come to mind. But if you dig beneath the surface, even a little, you’ll discover how ultimately alien his art really is.
“Socio-economic illumination, enabled by the evolutionary process of thought, was Beuys’ end-goal,” writes Kara L. Rooney in her substantial catalogue essay for Joseph Beuys: Process 1971–1985, the small but ambitious show she’s curated at the similarly disposed Rooster Gallery on Orchard Street.
It’s not uncommon for artists to fall short of their own expectations, only for the public to find delight in the charged gap between the aspiration and the goal.