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Dan Cameron

Dan Cameron is a New York-based curator, writer, and educator.

In Conversation

DONALD MOFFETT with Dan Cameron

Donald Moffett (b. 1955) says he doesn’t know what kind of art to make—given the situation. It’s a moving thought for an artist who is showing fantastic new paintings in his seventh solo exhibition at Marianne Boesky’s gallery.

John Sonsini

There have always been multiple entry points for viewers to come to terms with John Sonsini’s bravura portraits of single or multiple male subjects, most of whom are Mexican day laborers, and “the age of Trump” has unexpectedly provided us with yet another.

What Are Words Worth?

The ghost of Mark Lombardi hovers over recent exhibitions by Fernando Bryce, at Alexander & Bonin, and William Powhida, at Postmasters, both of which trafficked heavily in a fusion of text and imagery. This combination seems far easier for audiences today to digest than was the case 20 years ago, when Lombardi was one of the few working artists able to locate the proverbial sweet spot between things people want to read and things people want to look at.

Krzysztof Woidczko: A House Divided

The installation functions as a veritable safe space, where we might gradually accustom ourselves to the voices and faces of people whose political opinions are diametrically opposed to ours, while perhaps attempting to perceive a crucial distinction along the way between the message and the messenger.

Paul Anthony Smith: Junction

Paul Anthony Smith’s first solo exhibition in New York, at Jack Shainman Gallery, arrives with the proverbial wind at the artist's back. Smith, who turns 31 this year, has already enjoyed multiple museum group shows and acquisitions around the country, and some mid career artists whose names would be familiar to most readers have been discreetly collecting his work for some time.

Mika Rottenberg: Easypieces

A product of the 1990s upheaval that transformed video art into video installation, Rottenberg’s videos are the focal point of an intricately linked material universe in which architectural elements and room transformations function as added liminal spaces by which one arrives at the screen.

Tamara Gonzales: Bo Yancon

Gonzales’s efforts to transform both the emotional raw material of her research, as well as actual patterns and motifs found in Shipibo textiles, result in compositions that seek to retain the freshness and urgency of her experiences, while opening up a space in contemporary artistic practice for a non-exploitative relationship to pre-Colombian cultures.

Gretchen Bender: So Much Deathless

Her groundbreaking works of 30 years ago seem to dovetail just as effortlessly with a contemporary interest in activism and ways that artists can deploy new developments in technology and communication without becoming subsumed by a consumerist ethos.

I Was Wrong

Another troubling aspect to the infallibility principle of art criticism—by which the value of your opinion is determined by the proportion of artists you choose to write about who are still considered relevant 10 or 20 years after the fact—is that contemporary art is never affixed with an unwavering value, even after it’s no longer seen as contemporary.

End of the Line

During our time scattered amongst the living, we are frequently on the receiving end of advice to the effect that death is the event we should fear the most—a reflex that has always bewildered me.


The Brooklyn Rail

OCT 2020

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