In his exhibition statement for “New Solutions” curator Brian Faucette enacts a fictional email exchange between a distraught homeowner and a design agency concerning the strange behavior of Ryu—a prominent interior decorator gone berserk. With the sculptures situated in Mr. Fine Art, an expansive artist space and residence on the Bowery, each artist seems to embody some aspect of Ryu’s neurosis.
Jory Rabinovitz and Jules Marquis take the interior design theme most literally. With sponge painting Rabinovitz employs a classic and kitschy decorators technique executed by way of post-minimal process art. Each sponge is a hand cast cube cut to the dimensions of the shimmering grid shape painted on the wall. The excess sponges and painters tape accumulated from the creation of the work are contained in two blue transparent cubes that also match the interior dimensions of the wall grid.
Jules Marquis, an artistic collaboration between Daniel Turner and Colin Snapp, uses an image of a young Muslim bride in elaborate ceremonial dress to create a wallpaper border that snakes across part of the gallery wall. The specificity of the image is undercut by its repetition and placement, and the flowery shapes and warm color tones allow the piece to function less as global voyeurism and more as a traditional domestic wallpaper covering.
Sam Anderson thinks small. She assembled a menagerie of tiny handcrafted humanoid figurines and assorted small curiosities found on site in the exhibition space. The objects are displayed on and around various square pedestals creating an intimate tableau of subtle human drama, which the viewer, feeling like a giant, must climb down the beanstalk to fully comprehend.
The most painterly sculptor of the group is Winston McCarthy who applies unfired kiln clay sealed to curving metal bars with epoxy and colorful pigments. A close inspection of these forms reveals strange organic surfaces, material struggle, and decay. When viewing the objects as a group, these wiry shapes move with the fluidity of expressionist brush strokes.
Jacques Vidal’s interior design strategy is to create a room within a room. His “Houston Room” is inspired in part by both a recording studio and a jail. He pays homage to regional rappers from Texas with a smirking plaster bust lodged behind yellow bars and a floor lined with prescription codeine cough syrup or ‘sizzurp’. The spiraling handmade clock on the wall is meant to speed and slow time to simulate the drug’s effects– suitably, a strange feeling of disorientation permeates the entire exhibition.
“I’m not one for showing off. But I guess my guitar-playing sticks out.”
Rest in peace, Bert Jansch. I have loved your music ever since I discovered your 1965 self-titled debut record in Twisted Village’s legendary Cambridge basement store. I have since collected several others, and I will cherish them forever. You were better than Nick Drake.
and Donovan loved you maybe most of all.
there are two of them!
For those skeptical as to the veracity of my claim as to his superior musical sens-abilities, here’s Fahey’s version for comparison. By no means a bad recording, just not as good as Bert Jansch’s masterpiece.
To be fair, I believe he did record a better version of the song at some point, though I’m too lazy to go digging through my records to verify this, but I have done extensive surveys with that version, and the vote is unanimous…after playing the two songs back to back, Bert’s version kills it.
Anyways, enough with that shit, right? Here’s another amazing song by Bert.
He was also a founding member of the band Pentangle.
Blues Run the Game
Bert Jansch play’s “Angie”
And that’s how you play a guitar.