The VOICE fundraiser was quintessentially New York. $300 a ticket, guests packed bone to bone in the Spotted Pig, champagne and epic sliders. A bartender trying to pick up girls by saying they looked Russian. Music industry execs, bouncers, and a VIP section open only to Marina Abramović, or those who could pay $1000 to get in. It was that whole siphon-money-out-of-rich-people dance that all effective activist organizations do, but not very punk rock.
Nadya and Masha were in this world but not of it.
"A Brief Encounter with Post Pussy Riot Nadya and Masha" Animal New York. by Molly Crabapple
Molly Crabapple’s personal touch in drawings and words brings important topics to life, that would otherwise be easily dismissed as noise in the overwhelming influx of information I receive daily.
I went to see 11 Easy Pieces - Love & Self-Damage today; ten marble sculptures of naked female artists posing with various modern weapons (and a single abstract wooden piece). The use of marble together with the contemporary male fantasy of beautiful women and guns gives this popular image a sense of history, reminiscent of Neo-Classical sculpture. However Puckey also looks forward as aside from portraying rolls of fat and hanging breasts he has most notably chosen to realistically render the labia. An element of female anatomy that has often been ignored throughout the history of art (interestingly enough the anus is still absent). This choice gives what would otherwise be purely attractive if somewhat crass images to look at, a feeling of unease, a tension between attraction and repulsion. People, including myself aren’t used to being confronted with such clear representation of female genitalia in marble sculptures. Not even contemporary pornography is willing to show the vagina of regular women in such a way. This all would be very interesting if it weren’t for the fact that it was all so obvious that it can basically be summed up in sex, guns, labia and marble. Perhaps the choice of using young female performance artists as models could hint at a deeper interpretation, but when I look at the images themselves I don’t see the museum’s and perhaps also creator’s interpretation of women mid performance. There is no sense of movement or interaction with others sculptures to support this interpretation. To me these are women modelling for an erotic photo shoot. All in all there was simply not enough mystery to keep my attention. Except perhaps for "KIM DE WEIJER AS AMPUTEE WITH 3 PISTOLS". This image had far more pathos and depth to it. It wasn’t merely about sex, guns, labia and marble. On its own I could imagine it referencing a many number of things, what most notably came to mind if war scars physically a person, can he/she still be beautiful. Is he/she not in fact more beautiful because of the terrible things she has survived and made strong enough to become a subject of art.
This Atlantic article perfectly explains why Nirvana transcends (get it?) the grunge hype of the early nineties.
Malcolm Liepke almost exclsively paints women that are reminiscent of catwalk models with their pouting lips, button noses, large eyes and slim physiques. His semi nude paintings I always found too similar to contemporary photography of these kind of women found in magazines the world over to really be of interest. However when he fully clothes them and isolates them in a quiet scene, aside from being able to appreciate a masterful composition of colour and characters, it seems one is discovering these astoundingly pretty girls in daily life across a proverbial room as it were. Which, I have found, is always a fascinating experience.