Kayne Griffin Corcoran, Los Angeles
Irma Blank, Radical Writings, Exercitium, 1988, Acrylic on card, 11 1/8 x 15 inches
Writing is full of holes. Holes between the letters, within the letters, between the words and sentences and paragraphs, holes between thoughts and intentions and meaning. Writing is as much not there as it is there. It is a wonder that it holds itself together at all. Much doesn’t. Read the rest of this entry »
Untitled, 2013, pigeon pelt, plastic, 26 × 10 cm. Courtesy: the artist, Michael Benevento, Los Angeles, Clifton Benevento, New York, Susanne Hilberry Gallery, Detroit, KOW, Berlin, and ZERO, Milan
At the start of Michael E. Smith’s recent monograph, published in 2013 to accompany his exhibition at the Ludwig Forum in Aachen, there is a black page with two QR codes printed in white. Underneath each are the capitalized inscriptions: ‘BEETLEJUICE’ and ‘FOR HEADS’. This is the artist’s preface to the book. Read the rest of this entry »
Michael Benevento, Los Angeles
Sometimes artists’ biographies become so central to the reception of their art that they threaten to overwhelm it entirely. Michael E. Smith’s association with the blighted post-Fordist city of Detroit has become almost impossible to separate from his tender but trashed sculptures, paintings, videos and installations.
Jonathan Griffin 