meredith cutler :: arts marketing :: artist

I'm not going to be so presumptous as to present a formal and exhaustive review on the ever-anticipated, ever-harrassed Whitney Biennial. While traipsing my way around Brooklyn last weekend, I overheard a sidewalk conversation that went something like: "Oh yeah, the Biennial...again. They might as well just hold it every year, and forgo the Biennial affectation, as we barely have time to process the last one before the next one smacks us in the face. What it lacks in content it makes up for in hype..." and so on and so forth.

Ouch.

Given the attitude at large, and the admittedly impossible task of pleasing everyone (everyone in the art world, to boot), I've decided post-processing to simply point out the few pieces in this edition that stood out to me amongst the usual chaos, crap and crowd distraction.

Of course, there is an expected and increasing lack of formal, pretty work in favor of multi-media, video and de- or re-constructed debris-happy work. The one "pretty piece" I saw in this edition greeted me on my first stop (as always, floor #4), a perception-shifting wall piece by Isreali-born, New York artist Seth Price.

Realized in the negative space between several glossy pieces of laminated, burled wood, the act of spoon feeding between two figures was not immediately obvious to me in Untitled (2007), which I found very satisfying as the cliché map in my minds eye shifted.

Past that instant gratification, eye-candy intro, what I found compelling enough to spend some serious time with turned out to be video work, which I often lack patience for at crowded shows. My favorite works in the Biennial, videos by the L.A. duo Julia Meltzer and David Thorne, featured (fantastic) Syrian performance artist Rami Farah. Rivetingly upfront and humanly engaging, despite an English subtitled Arabic script of questioning political and quasi-religious content, the pieces I saw rode a fresh line between documentary, monologue and traditional storytelling. I simply could not get up and leave, and I would very much like to visit with this work again.

Another video that kept me riveted from stem to tip was Javier Téllez' Letter on the Blind For the Use of Those Who See (2007), which debuted at the Biennial. Drawing on an ancient Indian parable (The Blind Men and the Elephant), Téllez presents a compelling case with his depiction of six sight-disabled persons experiencing and describing their first individual encounters with an elephant (who stands mostly patiently in the center of a disused Brooklyn public swimming pool as the sightless explore his leathery skin and foreign sillhouette one by one). The film reminded me of the sheer wonder and preciousness of every new experience, and to appreciate how every being experiences the same thing in a unique way.

Given that, I'm sure that everyone who attended this edition of the Biennial will have their own favorites, opinions and horror stories (mine would have to be a claustrophobic experience in Mika Rotenberg's hairy goat pen when the exits were blocked by line jumpers!) I would look forward to the 2010 edition, but I fear it will be here before I have time to blink!

If you haven't yet made your way over to explore the culinary and boutique delights of Providence's Federal Hill neighborhood, tonight's March installment of Gallery Night is the perfect opportunity.

Image: "Table" by Kallie Weinkle

Students from the prestigious RISD furniture design program will host an opening reception for their revealing show "Sit Down - The Process of Furniture Design" at Gallery Z, from 5-9pm. This exhibit, curated by RISD senior Kallie Weinkle, is a rare opportunity for the public to climb inside of the minds and creative processes behind the future stars of furniture design. With selections created from an array of materials ranging from reclaimed industrial scrap wood to newspaper, the exhibit holds discoveries for every taste.

CLICK HERE to read my full exhibit review, written for the March/April issue of Artscope Magazine.

Gallery Z is located at 259 Atwells Ave. Providence, RI 02903. (401) 454-8844

Recommended local dining: Sicilia's Pizza, Costantino's Venda Ravioli

The city is a strange and often dangerous place to make a home, especially when pets and children are part of the equation. Still, there are advantages to keeping a domesticated animal in an urban environment...

Above: "Tiger" - Off Manhattan Ave., Greenpoint, Brooklyn, NY

Yesterday was the day of the amazing journey. I made my $28.84 way home (including gas) to Providence, from Williamsburg, via a snaking, pulsing and sometimes oozing network of mass-transit, adrenaline, fantastic timing and pure luck. I feel like Ferris Buehler.

I have to say my favorite part of the journey took place around Rockefeller Center, where I ran smack into the gooey center of a full-on Saint Patrick's Day parade. Che casino! How can it be that I am from Boston, yet totally blanked on Saint Patrick's Day until the beer breath of hundreds of thousands of green-hatted drunken revelers on W51st and 5th Avenue smacked me upside the head?

New York was a craic; I'm still downloading my mental notes on the shows I was able to breeze through between bars. But until then, as a tribute to my favorite art school professor inspired adjective of all time, behold:

See if you can guess what it is (hint: it's not hot).

I start my mornings with a display of crankiness, an espresso, breakfast and a peek at Design*Sponge (in that order). Well, the crankiness was dispelled more quickly than usual, thanks to Grace's post on the delightful, mixed-media work of Portland, Oregon artist Evan B. Harris. As many of you know, I have a salty spot for anything that depicts banjos, or inspires the spontaneous singing of sea-shantys...

If you are lucky enough to be in the Bay Area between today and April 2nd, make sure to visit and pay alms to his work at Rare Device!