I TOLD YOU TO ORGANIZE MY CLOSET SYSTEMS AN HOUR AGO!!! There are so many new clothes from HIGH-END STORES that need to fit!!…oh! *Ahem* Why, hello there, dearest faithful Filthy Dreams readers! Is it that time of the year again already? I was just lording over…I mean…um…collaborating with my new Executive Assistant! Of course, … Continue reading
Tag Archives: Cheim & Read
Shitposting on Canvas: Can Cumwizard69420 Save Us From the Scourge of Self-Serious Political Art?
Scrolling through a list of recently opened exhibitions, one name gave me pause: Cumwizard69420. A name that reads as if birthed—or shat—straight from the bowels of the Internet. Cumwizard69420. A name that seems as if typed by a snickering teen signing into a chatroom in 1997. In fact, that name would not be out of … Continue reading
Reclaiming Abstraction From The Dude-Bros: Louise Fishman At Cheim & Read
“I feel kind of bad for AbEx…It’s vulgar, it’s the phallocracy, it’s nothing but an empty trophy, it celebrates bourgeois subjectivity, it’s a cold-war CIA front, and well, basically expression’s really embarrassing. A dandy wouldn’t be caught dead doing something as earnest as struggling, or channeling jazz with his arms. An old-style dandy, at least,” … Continue reading
Hanging Round The Low Life Dives And Other Zombie Go-Gos: Tal R’s “Keyhole”
In Michel de Certeau’s The Practice of Everyday Life, Vol. 1, Certeau draws the comparison between city walkers and voyeurs. He writes, “To what erotics of knowledge does the ecstasy of reading such a cosmos belong? Having taken voluptuous pleasure in it, I wonder what is the source of this pleasure…” (92). While here Certeau speaks of gazing at the city from above, his description of an “erotics of knowledge” could also delineate strolling through the sleazy façades of red light districts. Continue reading
So Many Men So Little Time: Cheim & Read’s ‘The Female Gaze, Part 2: Women Look At Men’
2016 seems to be the year that the art world rediscovered women. Well, at least in their summer group shows. With this glut of all-women exhibitions, there are valid arguments on either side whether all-women shows are good for the careers of women artists. On one hand, women could be slotted solely as “women artists”–their careers relegated to essentialism and on the other, increased visibility is never a bad thing. Continue reading