Colorful Crosswords: Stephen Dean at Ameringer McEnery Yohe

Crossword, 2015, Watercolor on paper mounted on archival Tycore, 75 1/2 x 76 1/4 inches

Crossword, 2015, Watercolor on paper mounted on archival Tycore, 75 1/2 x 76 1/4 inches

Looking at this image online, as when viewing it from a distance in person, it is difficult to tell exactly what French artist Stephen Dean is doing in these enormous watercolors in his latest solo show in Chelsea. Non-representational color hovers over the center of black-and-white patterning, like an unfinished quilt. In fact, the artist created these works by dotting paint on individual squares of enormous crossword puzzles. Eight of these crosswords in different hues fill the gallery. What I find interesting is the optical play between near and far in the works.

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Both the most distant and most close views are visually pleasing but to totally different effect. From a distance, the works boast detailed, all-over abstract patterning that is so minute it is almost dizzying, and the colors appears soft and fuzzy due to the white space between dots. A close view reveals what might be a Conceptual exercise related to process or play. However, it’s hard to discern a system to Dean’s markmaking. Dean fails to capitalize on the cultural significance of the crossword or its irregular grid structure beyond a purely decorative sense. Even so, in the gallery, it’s an optical treat for the eye to venture from the detail, as in the above photo, to a view like the installation shot below.

Installation view, Stephen Dean

Installation view, Stephen Dean

The exhibition at Ameringer McEnery Yohe is up through February 6.

Bill Viola: Inverted Birth at James Cohan

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Installation view, Inverted Birth, 2014

Inverted Birth, the titular work of Bill Viola’s latest exhibition at James Cohan gallery, features a lone protagonist bathed in a torrent of dark fluid that changes to red, then milky white, then to a clear liquid that dispels into mist. There is gorgeous imagery as liquids stream upward and the vulnerable central figure is dramatic and affecting. The man, projected twice life-size and clad only in pants, takes in the deluge with minimal motion. He raises his head and lifts his hands out slowly, over a course of some ten or fifteen minutes. After the deluge ceases, he lowers his head to look directly out at the viewer. The action is slow, like everything else in the work, and his gaze is inscrutable.

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Still, Inverted Birth

The journey from dark to light that the man goes through parallels birth into the world. To make this video, Viola filmed the man standing dry and looking at the camera and then doused him with a stream of liquids from on high, above the camera’s view. The projection plays this footage slowed down and backwards. (You can watch a video of Viola’s studio at work on Inverted Birth if you like). So, there is a literal inversion in the technique behind this piece. Without knowing that, however, the viewer can see the inversion of gravity in the liquid streaming upward. Given the adult male used in the center, Inverted Birth suggests concern not with literal birth as much with the cycles of life, perhaps a more spiritual sense of awakening, and a focus on humanity at its most essential, both typical concerns of the artist.

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Installation view, Ancestors

The first work on view, the 2012 video Ancestors, depicts a man and woman walking across a hazy desert landscape. They move so slowly and from such a distance that it almost seems like a mirage. Eventually it becomes clear that they are approaching the viewer. This pair walk through the desert with the heat of the sun radiating up to obscure them, followed by waves of dust, and persist in a feat of endurance and implacability, like a march through time. Rather than narrative, this slow-paced experience suggests the artist’s desire to engage with the viewer on a more emotional level.

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Installation view, Wind Martyr (left) and Fire Martyr (right)

Finally, the last room holds four works from Viola’s 2014 “Martyrs” series. Based on a long-term installation in St. Paul’s Cathedral in London, each “Martyr” video depicts a body being buffeted or otherwise relentlessly trounced by a natural force. For example, in Fire Martyr, above right, a man sits silently in a chair engulfed in flames; the main motion of the film is the constant churning of the fire. Appropriate to the context of the martyr in Catholicism, these images are intended to convey transcendence.

On view at James Cohan gallery in Chelsea through January 30.

Jim Shaw’s Americana melange at the New Museum

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The New Museum’s “Jim Shaw: The End is Here” presents a retrospective of the 63-year-old West Coast artist who frames his exploration of fringe movements and pop Zeitgeist in inquisitive, art historical terms. My main takeaway from the Shaw exhibition: more is more. Especially when you hang it salon style across big galleries and fill vitrine after vitrine with esoterica. The survey of work from the 1970s onward, on view until January 10, fills three floors.

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Seven Deadly Sins

The second floor opens with a wide range of small works from the 90s–drawings of dreams and painted reimaginings of pulpy book covers. Both tend toward the erotic and the surreal. These works lay the ground for recurring subject matter in Shaw’s oeuvre: pop rendered vivid and uncanny. However, the next room of relatively stripped down recent paintings dispelled any suggestion that Shaw’s interests could be so neatly contained.  In these paintings, the difference between loose background and tightly rendered foreground gives the dense art historical and political allusion room to breathe (as in the excellent Seven Deadly Sins pictured above and below).

Detail, Seven Deadly Sins

Detail, Seven Deadly Sins

On the fourth floor, Shaw’s collections of thrift store paintings and of religious paraphernalia are on display, allowing the visitor to see the source material for much of the artist’s subject matter and share his fascination in lowbrow and weird Americana. The bad, enigmatic thrift store paintings are an odd prism with which to view American culture and the painters’ psyche; Shaw puts himself in their category by repeatedly displaying this collection in galleries.

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Installation of Thrift Store Paintings at the New Museum

Perhaps most impressive is Shaw’s dizzying collection of “didactic art,” featuring tent revival banners and tarot cards, medical texts and masonic heads. The material is probably vaguely familiar to most Americans, but I certainly never examined such cultural artifacts first hand. Even here, it is difficult to do so, simply because there is so much material to take in.

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Installation of Shaw’s Collection of Didactic Art at the New Museum

It is nuts–both the remnants of these fringe movements themselves and the attempt to collect and classify them into some kind of sensible order. Rather than succeeding, Shaw’s collection breaks down the border between what seems crazy and what seems reasonable. It makes you question the line in the sand between lunacy, belief, and fact–although personally I will continue to draw that line at the theory of aliens living among us.

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The pièce de résistance is on the fifth and last floor. Labarynth: I dreamt I was taller than Jonathon Borosky is a show-stopping stage-set of art and culture references blurred into a surreal suggestion of narrative that one can’t pin down. Instead, one wanders among the painted backdrops, raw wood supports, and sandbags examining the imagery. Details, like the one pictured below, surprise you as you spot Colonel Sanders of KFC fame below a large eagle. Characters, seemingly derived from the tarot card set you viewed in the didactic art collection on the floor below, make an appearance as well.

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The phrase “the sleep of reason produces monsters” came to my mind while viewing the show. The artist copied winged monsters from Goya’s famous etching earlier in the show, just as he refers to Dali, Picasso, and figures in the style of the game Monopoly in his final, ambitious work. It seemed fitting for this uncanny melange of found objects and paintings and drawings, in which oddball aspects of American culture start to feel strangely familiar.

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