2.14 / Helter Skelter

March 24 2011



March 24, 2011.

The line between reality and unreality is always frayed. As artists toy with artifice and plant red herrings, we find the rug pulled from beneath us and are left with only a work's physical or psychological presence to orient ourselves—in Bill Berkson's words, we must feel the mud underneath our feet. So it is that Mary Anne Kluth finds a greater reality in an artificial rock present in space than a video recording of an actual, earth-born rock; and John Zarobell searches in vain for a revealing self-portrait of Hasan Elahi contained in one hundred television monitors that play out the minutiae of the artist's daily life. Similarly, Jonn Herschend uses multimedia to cast veils: as his narratives are turned on their heads, viewers are left to set their own parameters for reality. Among the twists and turns of a whirligig ride, we must trust ourselves to find some level ground. —TT


Conversation with Bill Berkson

Conversation with Bill Berkson

By Bruno Fazzolari

There are no spiritual pretensions for painting anymore, unless of course you do muster them. It’s certainly not the visual Esperanto Kandinsky dreamed of, not a universal language. It’s not going to take you to heaven; it’s not going to serve the revolution. Albeit, no one can be sure that all those broken vows might not one day be renewed—I mean, it takes only one painter to do that.

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Interview with Jonn Herschend

Interview with Jonn Herschend

By Bad at Sports

What is the role of art and what is the role of entertainment, and how do those—as the economy collapsed, and more and more institutions are looking for funding from the individual, as well—how do those things coalesce? What’s the difference between spending money and going to a museum or spending money and going to a baseball game?

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