In resistance to this condition, I think we should perform an autopsy of critical style. Cutting into the cool and unfeeling skin of art writing, through its numbed fascia and tightened old muscles, extracting and inspecting its dried veins, we could track down the culprit behind this profession’s undead smoothness.
Changing landscapes across the tapestry create a sense of transition from one scene to the next: a body on the move. This feeling of motion is heightened by an almost imperceptible metallic thread that runs across the tapestry surface, glimmering in the light to give the illusion of movement and providing the work with an anachronistic materiality.
Indeed, to think of Laura Grisi as a staunch conceptualist would be a mistake. Her films, installations, paintings, and photographs were concerned with a range of themes that go beyond the cerebral dryness of conceptualism. While the three works described above were clearly earmarked as “distillations,” Grisi noticeably adopted this selective strategy across her oeuvre, sometimes (I would argue) unknowingly so.
I would benefit from the communal brainpower that comes from reading dense books in a group to fully articulate the relationship I sense between Vishmidt’s references to art historical-taxonomic and economic shifts between the modern and contemporary periods, and the synchronous evolution of class politics and degradation of state welfare in that same period.
Drawing upon Cristina Lucas’s work Unending Lightning (2015-ongoing), Ferran Barenblit gives a historical account of aerial warfare while probing the limits and possibilities of its visual representation by artists.