Dan Cameron is a New York-based curator, writer, and educator.
A product of the 1990s upheaval that transformed video art into video installation, Rottenbergs 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.
Paul Anthony Smiths 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.
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.
There have always been multiple entry points for viewers to come to terms with John Sonsinis 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.
Gonzaless 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.
| Critics Page
Another troubling aspect to the infallibility principle of art criticismby 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 factis that contemporary art is never affixed with an unwavering value, even after its no longer seen as contemporary.