Katie Stone Sonnenborn
Meeting me in his studio in mid-August, Banks Violette shook his head: “they talk about a post-studio practice” he mused, “sometimes I wonder if I’m in a ‘post-career’ moment.” In a culture primed to laud, collect, and consume “emerging artists,” Violette may stand as a litmus test of whether all of this attention is a good thing.
For Adam Cvijanovics third solo show at Bellwether Gallery, Love Poem (10 Minutes After the End of Gravity), he has created two monumental paintings that hark back to the triumphant decoration of late eighteenth-century Rococo. Painted on Tyvek, the indestructible, fibrous, synthetic used for FedEx envelopes and house construction, the works are affixed directly onto the wall.
Jon Kesslers exhibition at P.S. 1, The Palace at 4 A.M. is anathema in the current state of art. Raging and fierce, his elaborate kinetic sculptures directly address the current socio-political state of the world through the eyes of an American.
Maps have always served at least two purposes: to get people from point A to point B, and to demonstrate or set claim to domains of power and control. The further you go back in history, the more both of these functions become speculative and the more maps assumed an air of exploration.