Geoffrey Cruickshank-Hagenbuckle is an American poet and art critic. He lives in Paris and New York City.
The Geometry of HopeBy Geoffrey Cruickshank-Hagenbuckle
There is a spidered but unbroken vein feeding cannibals (Yes, I said that) into Concrete Art, snaking through the 20th century from the deepest reaches of the Amazon River in Brazil.
Do-Ho Suh ReflectionBy Geoffrey Cruickshank-Hagenbuckle
Lucretius thought that pictures flew through the air on films, alighting on our eyes to grant us vision. When asked about the primacy of perception, materials, or space, Do-Ho Suh asserts The image is always first. Further, he maintains, I have a desire to create my piece without any material.
Lori EllisonBy Geoffrey Cruickshank-Hagenbuckle
The eternal return of the same is not metaphysics; its an aesthetic! The obsessive-compulsive busies herself frantically to insure that nothing happens, furiously weaving nets to bind trauma. That trauma is real life. Shock, lack, and the abyssal wail remain in force then wrest control, but such discord is not well captured by mere fracture.
Welcome to GuluBy Geoffrey Cruickshank-Hagenbuckle
Rimbauds vision did not fail once he abandoned poetry and Paris. In Harar, he planned a railroad for North Africa, even surveying its route.
BORDERLINE BADBy Geoffrey Cruickshank-Hagenbuckle
Now, Marcel Duchamp made but one readymade when in Argentina during 1919. This, near as immaterial as Archimboldi.
AND ONE MORE THING: DAVID HAMMONS, MELVIN WAY, WALTER SIPSER, ANDREW CASTRUCCIBy Geoffrey Cruickshank-Hagenbuckle
Looking like some mongrel mix of Lettrisme recalling Raymond Lull, more formal than abnormal, Walter Sipsers pen and soft lead opaque icons pose convincingly as prints but are instead hand drawn. Before apprenticing himself to encryption, did he plan to lay siege to the city of Richmond?
Chris Marker Staring Back Film ProgramBy Geoffrey Cruickshank-Hagenbuckle
The subliminal image disappears below our conscious threshold, losing none of its effect, surreptitiously perhaps even gaining power. Used in mainstream 1950s films to stimulate the audiences appetite for candy, a discrepant image hides inside a stream of images similar to themselves.
Urban Sensitivity: Seven Contemporary Japanese ArtistsBy Geoffrey Cruickshank-Hagenbuckle
Fuck the Furries. This show goes one better. If the Furries were sexual misfits who couldnt cuddle up (or yiff) without first dressing up as foxes, raccoons, rabbits and bears, converting whole hotels into dens and lairs for their unconventional conventions, prosthetic artist Yuukyuusai here trades her original face for a second nature.
Mike Kelley Green Depths And Los Angeles 1955-1985, Naissance d’une Capitale ArtistiqueBy Geoffrey Cruickshank-Hagenbuckle
Outré art’s an inside job. Can there still be any doubt? Bad boy/bete noir Mike Kelley is showing in Paris at both the Louvre and the Centre Pompidou simultaneously. A product of Cal Arts, Valencia’s prestigious “post-avant” art program, Kelley now teaches at the Art Center in L.A. While reaping undeniably heavy street cred for the extended summer vacation he took between graduate school and his first teaching job.
By Geoffrey Cruickshank-Hagenbuckle
The Shape, the Scent, the Feel of Things
Conceived and directed by performance artist Joan Jonas with original piano score by Jason Moran, the central narrative focus of The Shape, the Scent, the Feel of Things is the unprecedented life and work of art historian Aby Warburg (1866-1929).
Francis AlysBy Geoffrey Cruickshank-Hagenbuckle
What does a man taking a different drug every day for a week while drifting through Copenhagen in 1996 have to do with 500 men using shovels to move a mountain of sand just four inches outside Lima in 2002?
Slater Bradley: The AbandonmentsBy Geoffrey Cruickshank-Hagenbuckle and Miyuki Tsushima
How many home movies do we need of some wide-eyed wannabes pilgrimage to Jim Morrisons Pére Lachaise grave? In _The Abandonments, six new, regrettable, fortunately forgettable, video shorts looking like unclaimed footage flooding a tourists fast photo developers bin, Slater Bradley brings his butter knife to a gunfight.
Unica Zurn: Drawings from the 1960sBy Geoffrey Cruickshank-Hagenbuckle
The high risks and rewards of an uncurbed passion for nearly impossible art.
Candida HoferBy Geoffrey Cruickshank-Hagenbuckle
What signals the advent of the Sublime for Kant is awe: dread wonder at the sheer power of beauty or terror in Nature. While this experience exalts the soul, even the moral character of the beholder, it is absorbed in degrees, like the stages of a perilous initiation.
Notes from UndergroundBy Geoffrey Cruickshank-Hagenbuckle
he Brooklyn Rail has broadened its map and its definition. Once designating solely the L and G trains it now runs west to burgeoning Chelsea, and includes the JMZ to Bushwick. Beyond the trains, it means also to rail against the foe, affords a balustrade on which to lean when staring into hell belowand stands as the one sure hold we seize in heavy weather.
SARAH RAPSON Transcendental MaterialismBy Geoffrey Cruickshank-Hagenbuckle
It all comes down to faith. There has always been a devotional cast to Ms. Rapsons art (Holland Cotter).
Cai Guo-Qiang on the Roof: Transparent MonumentBy Geoffrey Cruickshank-Hagenbuckle
Four new artworks by Cai Guo-Qiang are now being exhibited on—and above—the Cantor Roof Garden at New York’s Metropolitan Museum of Art through October 29, 2006. Bringing even the sky into play, “Clear Sky Black Cloud,” three successive explosions each releasing a dark smoke-cloud, will appear over Central Park six days a week at noon for the next six months.
Lori Der Hagopian Strange Bird ProductionsBy Geoffrey Cruickshank-Hagenbuckle
While many lament the dubious quotas, super-size-me scale, showboat marquees and recycled red carpet art stars unwholesomely coupling with the hydra of bureaucratic curatorial diplomacy that clog, clot, and clumsily commandeer today’s more than 200 international biennalés, few have devised as covert an alternative as has Lori Der Hagopian with her Strange Bird Productions.
Marcel Broodthaers Décor, A Conquest by Marcel BroodthaersBy Geoffrey Cruickshank-Hagenbuckle
A one-second film composed of 24 hand-lettered frames bearing versions of the artists signature M.B. shown at 24 frames per second.
Annette MessagerBy Geoffrey Cruickshank-Hagenbuckle
Friend or foe? Freud maintained that the uncanny is a mere change of light: that minimal, immaterial difference detectable in your girlfriend after she’s been replicated by invading body snatchers. The Dark Side is but alien malevolence hidden behind what’s most familiar.
Pedro Reyes: Principles of Social TopologyBy Geoffrey Cruickshank-Hagenbuckle
The title of Pedro Reyes’ first New York solo show, _Principles of Social Topology, _ refers to the work of German social scientist Kurt Lewin, founder of a psychological typology known as Field Theory. A “field” is defined as “the totality of coexisting facts which are conceived of as mutually interdependent.”
John BaldessariBy Geoffrey Cruickshank-Hagenbuckle
In 1970, John Baldessari cremated all his paintings, baking some of the ashes into cookies. Documented as a cutoff point in his career by the photo piece “The Cremation Project,” included in his Ways of Seeing exhibit now at the Hirshhorn, Baldessari has since strictly sought to keep his hand out of painting by imposing counterintuitive constraints such as hiring sign painters to execute his artworks.
Fauxhemia: The Same Old Same Old New York SchoolBy Geoffrey Cruickshank-Hagenbuckle
In 1968 Jasper Johns silkscreened the title and blank facing page of Ted Berrigans The Sonnets to his painting Screen Piece Number 3. The painting is a masterpiece of radical reserve, exigency, and untamed elemental elegance. The poetry too was a provocation, one the wilder for its recklessness kept in check by rigor. Note the date.
Susan BeeBy Geoffrey Cruickshank-Hagenbuckle
Susan Bees paintings are a savage mix of Expressionism and Pop schadenfreude populated by cut-and-paste pictures. She has had four explosive solo shows at the artist-run A.I.R. Gallery, where she will show again next year. (Founded in 1972, A.I.R. was the first women artists co-op in the U.S.) G
So Could They Shroud CrowsBy Geoffrey Cruickshank-Hagenbuckle
Geoffrey Cruickshank-Hagenbuckle has been published in poetry journals as diverse as Boog City and The Boston Review, including Fence, Verse, Purple, Jacket, and Action Yes, among others. He is the editor of Dear Bear, the author of one book of poetry, Nuit Maudit, and of the paranormal detective thriller Kook! His film credits include Tremors, Finding Forrester, and Our City Dreams.
MATVEI YANKELEVICH with Geoffrey Cruickshank-HagenbuckleBy Geoffrey Cruickshank-Hagenbuckle
quizzed Matvei Yankelevich (Yank-e-LAY-vich), star and Tsar of Ugly Duckling Presse, early into UDPs month-long March NYC onslaught, which featured an exhibition of past publications, projects, film, and historical ephemera at PS1, the Octopus Books release of his own Boris by the Sea, and over a dozen performances and poetry readings spanning citywide venues from the Invisible Dog to St. Marks Bookshop.
In the Still Cave of the Witch PoesyBy Geoffrey Cruickshank-Hagenbuckle
The praying mantis plays dead to avert destruction…