Otherwise Obscured is a rebuttal to white-focused history, working in the vein of canon-broadening curation while reminding the viewer that erasure happens at the level of museum boards of trustees, immigration policy, and disaster relief funding.
What if we just let boys act like boys, and girls like girls? It’s a straight question, posed as provocation by the curator of Quinn Likes Trucks, Carl Gunhouse. The answer, of course, is that we already do.
It is no radical claim that art is a commodity driven by the same forces as fashion: disposable income and ephemeral aesthetic tastes (albeit on different scales). But museum collections typically retain a symbolic status as arbiters of historical and aesthetic value isolated from the influence of the market.
The Young Exhibition Makers program (Y.Ex) is concerned with teaching its participants tools for self-definition, and the result of this sustained attention to meaningful expression is something quite different than both high school art exhibitions and proper gallery shows.
Stephen Milners appropriated images culled from surf and gay porn magazines pre-dating 1990 re-code the concept of boys club from frat house basement to queer-inclusive activity meet-up.
Jeffrey Cheung's drawings of many-sexed and ambiguously gendered characters in various states of sexual play deliver an answer to cis people's apparent confusion about how post-gendered fucking works. Cheung's first solo-show at Muddguts is hung salon stylecrowded, nearly floor to ceiling, with little to no space between the works.
Samats six unorthodox weavings, depicting three generations of her family members, hang in an upstairs loft the size of a two car garage. She made the work near the museum, during a three month residency, using a combination of materials she brought from Kuala Lampur and pieces she found in stores around Peekskill, NY
It’s hard to feel alone in Hours and Places, as Constance DeJong’s voice echoes from more than one place in Bureau’s two rooms.
Antonia Kuo’s work in Collapsed Field ruptures the notion that the digital plane is an affectless mirror through which we can access our social spheres as divorced from the material and physical influences of real life.