Gabriel "Specter" Reese, Guerrilla Billboard, via Gothamist

Opening today at the Museum of Contemporary African Diasporan Art (MoCADA) in Brooklyn is the group exhibition, The Gentrification of Brooklyn: The Pink Elephant Speaks. Before it had even officially opened, the show generated a fair amount of controversy. It seems to have created a Brooklyn—and Internet—divided. The exhibition was guest curated by Brooklyn native, Dexter Wimberly, and features 20 artists working in various mediums whose work “investigates the controversial impact of gentrification on the great borough of Brooklyn,” according to the museum. Though MoCADA’s mission seeks to “give a more accurate portrayal of contributions to the historical, artistic and cultural landscape of the world by people of African descent,” Wimberly recently told The Brooklyn Paper, “As a curator, it was important to me to make sure this exhibition was not just an African-American perspective, or a white perspective or an Asian perspective or a Latino perspective.”

Josh Bricker, The Order of Things (partial), courtesy the artist

I talked to Josh Bricker, whose installation piece, The Order of Things, is on display in the exhibition. Bricker, who is an MFA candidate at Parsons The New School for Design, told me that The Order of Things—which is made up of ten Anatex “roller coaster” toys in various stages of manipulation—”confronts a lot of the major issues surrounding gentrification, through a slow process of homogenization and conversion.” Bricker says that the toys “were chosen for their iconic status and place in our memories to allow for a re-contextualization of the mundane, as well as an easy entry point into a much heavier and more serious issue.” The ten roller coaster toys follow a spectrum of visual shifts until the last piece becomes almost unidentifiable from the first. Of his process, Bricker says, “If you know color like most artists do then you realize that while white in light is the presence of all color, it is actually the absence of all color in pigments and, therefore, I felt the perfect representation of homogenization and the loss of individuality.”

Josh Bricker, The Order of Things (partial), courtesy the artist

Not everyone in Brooklyn, and elsewhere, though agrees with the message of the exhibition. A casual post about the show on the popular New York blog, Gothamist, turned into an all-out war of words and ideologies when commenters began discussing (not always eloquently) issues of gentrification, race and class. One commenter replied sarcastically to the image of Gabriel “Specter” Reese’s piece for the show, Guerrilla Billboard, saying, “Oh boy here we go… How dare you try to come in and actually contribute to the quality of life here. How dare you try to come in here and open up business, and create jobs. How dare you try to put a boutique clothing shop in place of the 3rd liquor store on this block. How dare you pay taxes!” Another disagreed by responding, “I don’t necessarily think: 3 starbucks per block plus several overpirced [sic] organic fairtrade coffee emporiums, plus…3x rent increase for the same shitty apartment is an ‘improvement’.”

The artists whose work will be on view in The Gentrification of Brooklyn: The Pink Elephant Speaks include: Josh Bricker (Installation), Valerie Caesar (Photography), Oasa DuVerney (Drawing), Zachary Fabri (Video), Rosamond S. King (Installation), Irondale Ensemble (Theater Performance), Nathan Kensinger (Photography), Jess Levey (Photography / Video Installation), Christina Massey (Painting), Musa (Sculpture), Tim Okamura (Painting), Kip Omolade (Painting), John Perry (Painting), Adele Pham (Video), Michael Premo / Rachel Falcone (Photography / Multimedia), Gabriel Reese (Painting), Marie Roberts (Painting), Ali Santana (Music Video), Monique Schubert (Mixed-media), Alexandria Smith (Painting), Sarah Nelson Wright (Installation).

Additionally, photos and essays by students at The Brooklyn Community Arts and Media High School and The Secondary School for Research will be on display in a vignette representing their study and documentation of the impact of gentrification in their neighborhoods. The exhibition runs through May 16, 2010 and features a roster of public events surrounding the issues it seeks to explore, including talks and documentary screenings.

Courtesy of the artist and Civilian Art Projects

Civilian Art Projects in Washington, D.C. is currently presenting Don’t Look Now, a multimedia exhibition by Brooklyn-based artist George Jenne. Don’t Look Now consists of manipulated movie posters, sculpture, and graphite drawings, all reflecting the artist’s interest in the horror movie genre. Jenne sees a correlation between the unease and trauma delivered by such films and the unsettling experience of early adolescence. The artist states in the press release, “For me, there is a strong connection between the act of warning or revealing and the portentous atmosphere of pre-pubescence, thus a strong connection between the abject, mutated form of the monster, and a person’s tenuously pristine state of mind during early adolescence.”

Hellion (2007), a mixed media sculpture constructed of plastic, resin, embroidery, Fun Fur, polyethylene, wood, sound and light, both tantalizes and torments the viewer. The sculpture resembles a boy scout, but the formidable stance, monster’s head, and bloody knees indicate something more malevolent. Upon closer examination, the viewer encounters such sinister details as cigarette and swastika “merit” badges carefully adorned to the sash, and a wooden plank with the words “Be Irreverent” emblazoned beneath a crest.

Courtesy of the artist and Civilian Art Projects

George Jenne, who currently lives and works in New York, received his B.F.A. from the Rhode Island School of Design in 1995. He is the founder of Bandolier, Inc., a commercial prop making company. Jenne has recently shown his work in New York at Exit Art, Jack the Pelican Presents, Envoy Enterprises, and PS122.

Wind (Rom), 2009; plastic, poster, wallpaper, spray paint, loops, screws; 209 x 202 cm.

In William Gibson’s 1986 novel Count Zero, an abandoned but sentient AI robot composes art objects from detritus found in space.  Despite being built by a computer from discards and rubbish, these objects have a deeply human gravity—both a grace and a yearning for grace—and are highly prized.   It is precisely this evocative use of materials and imagery that Isa Genzken gives us in Wind, her response to the death of Michael Jackson.  This recent work, at Neugerriemschneider Gallery in Berlin, expertly conjures the agitation between glory and coarseness in celebrity culture.

Five monumental mixed-media works, all from 2009, are hung from the walls of the gallery.  The outlier of the group in materials and scale, Wind (Rom), is composed of pages torn from a floral wall calendar, plastic, satin ribbon, spray paint, and tape.  The other four works are larger and a more intriguing mix of temporary and durable materials: the weight and chill of large copper and aluminum plates clashes with flimsy photocopies provisionally clamped to their edges, and the glitz and promise of mirrored disco tiles is defeated by the crassness of cheap blue painter’s tape.  To say that the work is abject would be somewhat misleading; the scale and materials often point to permanence and beauty, even though it falls short of being fully realized.  In Wind, Genzken tells us that true beauty is not possible under current historical and cultural conditions.

Wind (Michael/David), 2009; plastic, poster, colour copies, mirrored foil, coloured paper, spray paint, tape; 200.5 x 276 cm.

The particular mix of images gives the work lyric force.  Wind (Michael/David)—made of plastic, poster, photocopies, mirrored foil, colored paper, spray paint, and tape—depicts Jackson in his prime: styled, dancing, iconic.  Gold spray paint adorns the cheap posters, giving Jackson a top hat or circling his exposed chest.  The composition is also inflected by a centrally-placed image of the famous marble statue; a small copy of Lochner’s Altar of the City Patrons; and multi-colored curving marks that look like an enlarged thumbprint.  In this way Genzken points the viewer to the distinction of Jackson’s oeuvre, inviting connections that signal individuality, singularity, and exceptionalism.   But on closer inspection she undercuts her own assertions: the posters of Jackson are printed with © Annie Liebowitz, the original author of the photo; ripped from a book, the tattered reproduction of Lochner’s altar has his name and information about the piece at the bottom.  It’s as if Genzken wants to build a new Oz, and then perversely delights in drawing back the curtain on her own construction: The gold? Cheap paint. The rainbow? A tacky photocopy. Our heroes? Well…

Wind (Michael), 2009; copper plate, aluminium plates, colour copies, tape, spray paint; 260.5 x 315.5 cm.

And yet, there is a scavenged poetry, too.  Wind (Michael) uses repetition to evoke a sense of loss.  Against a background of alternating copper and aluminum panels, the piece depicts Jackson in concert, leaping into the air in a dance routine.  The photos (more cheap photocopies) are attached to the first two of the three copper panels, establishing a visual rhythm that points to the blankness of the last panel.  Despite the heroic scale of the piece, the apparent permanence of the metal, and the brightly colored papers, the piece is cold and despairing.

The various compositions of the pieces are anarchic but not disorganized.  Materials, too, are severely contrasting but not completely unharmonious.   If the work is, as stated in the press release, “concerned with the depiction of this immaterial force of nature,” it seems that Genzken shows us a wind that can simultaneously elevate and sully.  In the end, the work feels less specifically about the adoration and dejection of Michael Jackson than about the society that produced him.

British artist Lucy Williams is further developing the definition of collage. Her detailed, low-relief work focuses on mid-20th century Modernist architecture and involves the careful layering of materials such as card, Perspex, fabric, thread and pillow stuffing. Each material is layered precisely by the artist to illustrate railings, lamp cords and other structural elements. In an interview with Wallpaper Magazine Williams said she sees her vacant images as spaces to be inhabited. “The era was about belief, ideas that we now no longer hold, of social cohesion through the design of a building, Utopian dreams long dissipated,” Williams says in her interview. She had her first solo exhibition in London in 2007 titled Beneath a Woolen Sky, at the Timothy Taylor Gallery. Williams has also exhibited with the McKee Gallery in New York in 2004 and 2006. She has her B.A. in fine art from the Glasgow School of Art and her postgraduate diploma in Fine Art and Painting from the Royal Academy.

This article has been updated from its original posting on October 25th, 2008.

A peculiarly calm brand of humor is found in Katie Herzog’s work. With an aesthetic that seems to reference both craft and contemporary painting, wit is infused into the cheerfully colored paintings and mixed media pieces that the Los Angeles-based artist and assistant reference librarian creates. Her painting entitled Freedom (Richard Stallman Folk Dancing) (2008) renders the poker-faced father of the GNU Project prancing on a rainbow, in an apparent celebration of freedom of speech. In the explicitly titled, Dead Coyotes on a Fence (2008), Herzog depicts a neat row of four dead coyotes hung by their feet along a chain link fence, while a vast landscape of color blocks sprawls beyond. Both pieces were on view in her 2008 solo show, Librariana, at Circus Gallery in Los Angeles. In 2010 Herzog’s work will be on view in the solo exhibition, Ecstasy of Municipality at Whittier City Hall, Whittier, CA.

Katie Herzog lives and works in Los Angeles. She received her BFA from the Rhode Island School of Design, her MFA from UC San Diego, and attended Library School at San Jose State University. She has been an artist in residence at Program Initiative for Art and Architecture Collaborations in Berlin, Germany; the Skowhegan School of Painting and Sculpture in Maine; and the Banff Centre in Alberta, Canada. Solo exhibitions include: Art As Experience at the Whittier Public Library, Whittier, CA; Librariana at Circus Gallery, Los Angeles, CA; Katie Herzog: New Paintings at Bucket Rider Gallery (now called Andrew Rafacz Gallery), Chicago, IL; Soft Philosophy at Pawn Shop Gallery, Los Angeles, CA; and group shows include: You Gave Me Brave at S1F Gallery, Los Angeles, CA and Literature As Exploration at The Other Gallery atThe Banff Centre, Alberta, Canada, among others.

Off Book is the title of a current exhibition by acclaimed New York based conceptual artist Glenn Ligon. The exhibition, which is on view through January 23rd at Los Angeles’ Regen Projects, continues the artist’s investigation of cultural identity, social and historical constructs, language, race, and gender. Similar to previous exhibitions by the artist, Off Book explores these ideas through text-based work, installation, and video. This new series of works investigate many themes discussed in James Baldwin’s essay entitled Figure, originally published in 1953. For this series, the artist has silk screened versions of existing text-based paintings onto colored backgrounds, and then dusted the surface with coal particles. The result is a semi-abstracted surface where the test is obscured through the application of the screen print.  Also on view is a 16 mm black and white film titled, The Death of Tom, and a neon piece, which features the word AMERICA backwards, titled Rügenfigur.

Ligon’s work has been the focus of several major international exhibitions. The artist’s work was selected by the Obama’s to be on loan at the White House. This inclusion made Ligon the youngest artist ever to receive this honor. Recent solo exhibitions for the artist include, ‘Nobody’ and Other Songs at Thomas Dane Gallery in London and Figure/Paysage/Marine at Yvon Lambert in Paris and Love and Theft at Power House in Memphis. The artist is a graduate of Wesleyan University and Rhode Island School of Art and Design. Ligon lives and works in New York City.

Originally published on: March 31, 2008

Wangechi Mutu will never experience the heated backlash that Kara Walker experienced. No one will call Mutu the “patsy of the white art establishment,” accuse her of selling fellow black artists down the river, or launch a letter-writing campaign to keep her artwork from being shown. There are good reasons for this: unlike Walker, the Kenyan-born Mutu does not share the slavery lineage of African-American artists and she does not make work with a lucid historical context. Yet Mutu’s work is often as disturbing as Walker’s, reconfiguring sexualized representations of women and creating visceral collages that appear more pornographic than critical. Continue reading for the complete DailyServing article by Catherine Wagley.

"Eat Drink Swan Man", 2008 Watercolor and collage on paper Overall dimensions 43" x 63" (nine parts) Courtesy of Susanne Vielmetter Los Angeles Projects.

Mutu and Walker both probe the ways in which women’s bodies have been caricatured and both use craft-inspired materials to create compositionally seductive images. Both also provoke the same question: is this work compelling because of what it says or because of the way it speaks?

Mutu received her BFA from Cooper Union and her MFA in Sculpture from Yale. Since leaving Yale, Mutu has participated in celebrated group shows internationally and her inclusion in Saatchi Gallery’s USA Today made her, at least fleetingly, an art world sensation. The critical discussion surrounding her work often hovers around terms like mutilation, fashion and empowerment, emphasizing the contrast between representations of gender in Africa and the West. But there’s something missing from the discussion of Mutu’s art. The compulsive, sentimental, and seductive quality of her imagery overwhelms any social criticism that she might be articulating.

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