Katz, Barney, and Juliano-Villan – ryan

Matthew Barney, Billy Grant, Alex Katz, and Jamian Juliano-Villani.
Photo: Courtesy of Jamian Juliano-Villani

What a great exhibition Title: “The Bitch.” It describes so much and Says so little. Say is a two-person show of Alex Katz97, and Matthew Barney57. It was Put Together by Jamian Juliano-Villani, 37, A Living-On-Eidge Sensation Who Shows Hyperrealist Paintings at Gagosian and uses the Sales to Stage at Her Gallery, O’Flahety’s. With Her Cohort Billy Grant, Juliano-Villani Has Operated O’Flarty’s at Two Other Lower East Side Locations. This one is on allen street, a spot that was for formerly a brothel, a bar, and a deli. A Dead Tree Trunk Dominates the Space, A Staircase Curling Around It. It gives the venue a haunted air of dead memory.

Three Distinct artistic sensitivity mersi into one. Barney’s modus operandi is endless preparation, numerous assistants, and a penchant for the spectacular. (In 1991, he made his way via ice Screws along a gallery ceiling, naked but for a climbing belt and other Accessories, and climble a wall into a basic freezer and inserted his final screw ass – Still the lover solo show i.) Water Cast 10 is part of modernist abstraction, part -chains’ nest, and part chinese scholar’s rock made by a crew of People Molten Copper A Combination of Clay and Water. The results is explosive.

Katz Emerged in New York in the Early 1950s, then the Height of Abstract Expressionism. He Pushed Back Against This Trend, painting representally and demurely. HIS IMAGES OF PEOPLE AND THINGS ARE SILENES SCREEN MADE WITH UNINFLECTED BRUSHTROESS. I was Never Much of a Fan, but Katz’s Bland Sublime is Forever Undead Among Younger Artists. His Newest Abstractions are relevant in unambiguous neon orange. In one, there is a long, receding highway beneath a leafy canopy road. These are the best paintings katz has ever made, and it is Moving to think long it cyts for painting to give up it seconds.

Barney and Katz Were Represented by Barbara Gladstone, WHO DED THIS SUMMER. Under a Group of Directors, Gladstone’s Gallery Is Now Trying to Extend Its Lifetime. This idea of ​​fluffy back against the limits of life cycles is baked into the Audacious DNA of “The Bitch. ” Juliano-Villani Envisioned a Show About “Living in Fear,” “A Gripping Tale of UNREELIVED HORROR, OF SURVIVAL AND RESILIENCE, and of the Ways in which Humankind Confronts Death.” This sort of raw hubris is welcome in an art world filled with family aesthetic concepts and credentialed elitim.

AFTER PASSING INTO The Darkened Downstair Gallery Though a Sort of Cage, Viewers are confruit by three monitors suspended over an Old bar. Playing on say is Barney’s 45-Minute Video Drawing Restraint 28in Which We Witness Katz, An ancient Mariner Climbing Up and Down a Portable Stairway, Making One of His Large Orange Monochromes. He ascends, Holds His Large Brush, Steadies Himself, and Makes a Mark. He steps down to consider it. Barney Treats Katz as A Specter-Exemplar, A Living Gladiator-Atherte Still at Work. The movie is a forgetowing journey into creivity. We Watch someone doing what he has done every day of his life, totally Locked in, Lost in His Own Wisdom, Memory Engine, and Instinct. I WANT TO DIE WORKINGI thought.

Walking Through “The Bitch” Makes US FEEL WE ARE INSIDE THE BODY OF ART. PACED LIKE A DIRGE OR CHANT, ITS CRUSHING BEAUTY GIVES US Two Very Different Artists Developing their Own Languages ​​and Tools as they are Labor Against Restraints of Space and Mortality. These Invisible Structures are Built into all art, be it form of a sonnet, the artifact of perspective, the mechanisms of the novel. “The Bitch” tolls us that thiugh we may Never be the Same person who made something in the past, we nevertheless inhabit structures that allow us to create again. This euphoric ejibition whispers that objets have longer memory than people, that is on the side of the living.