July 26, 2004
"Solo Show/Solo Soul" at Vedanta Gallery, Chicago
While passing through Chicago I drafted a short review of "Solo Show/Solo Soul" curated by Chris Johanson at Vedanta Gallery. The review is online at Artforum.com here and archived at BrianSholis.com here.
Posted in Art. Found always via this permanent link.
July 16, 2004
Martin Creed at Galerie Emmanual Perrotin, Paris
An Artforum.com review of Martin Creed's solo show at Galerie Emmanuel Perrotin, Paris. The Artforum.com link dies in two months, so the review is also archived online at BrianSholis.com.
Posted in Art. Found always via this permanent link.
July 15, 2004
www.BrianSholis.com is live
Today marks the launch of BrianSholis.com, an online archive of my published writing. It also marks my last day at the gallery at which I have worked for the last three years and the beginning of my career as a freelance writer. I'm off to Chicago and Los Angeles for vacation, but I will report back with reviews, news, quotes, and links very soon.
Posted in Miscellaneous. Found always via this permanent link.
July 11, 2004
Nan Goldin at Yvon Lambert Gallery, Paris
An Artforum.com review of the Nan Goldin exhibition on view through July 24 at Yvon Lambert in Paris. The link dies soon, so here's the full text:
In response to "Heartbeat," Nan Goldin's show at Matthew Marks Gallery last year, Roberta Smith commented on Goldin's position as a "lonely outsider" whose relationship to her subjects (in this case, young lovers) seemed to have grown more voyeuristic of late. For this exhibition of mostly new work, Goldin counters the criticism by inserting herself into the narrative—more than a dozen bedroom scenes depict her own lover, Jabalowe—and by training her lens on couples along the full age spectrum, from cherubic toddlers to her parents kissing on their bed. While "Heartbeat" was anchored by a slide show set to Bjork's enigmatic glossolalia, the new slide show, Honey on a Razor blade. Part II—Teenagers, 2004, features more didactic sound-track choices (Hole's "Doll Parts" accompanying mid-'90s pictures of supermodel James King, for example). The triteness weakens the emotional intensity of the images of King, male sex workers in Southeast Asia, and the leader of a Brooklyn girl gang. But the 1972 series "The Other Side"—small black-and-white portraits of Boston drag queens—is on view in the back room, reminding us that despite occasional slips, Goldin's aesthetic has been remarkably consistent all along.