In a recent edition of my art column Wicked Artsy for The L Magazine, I wrote about two exhibitions that use clown-like figures to elicit sympathy and a kind of melancholic pity from viewers, rather than banking on their potential for creepiness. For Marnie Weber at Marc Jancou Contemporary, her ghost clowns are part of a feminist narrative about body politics and performance. With Nigel Cooke's exhibition at Andrea Rosen Gallery, we peer into an uneasy vision of the future where, after an apocalypse of sorts, the only remaining humans are gnomish clowns (as seen at right) who offer their artifacts in a nearly direct address to viewers. Read the whole article here.
Clowns Art Us
In a recent edition of my art column Wicked Artsy for The L Magazine, I wrote about two exhibitions that use clown-like figures to elicit sympathy and a kind of melancholic pity from viewers, rather than banking on their potential for creepiness. For Marnie Weber at Marc Jancou Contemporary, her ghost clowns are part of a feminist narrative about body politics and performance. With Nigel Cooke's exhibition at Andrea Rosen Gallery, we peer into an uneasy vision of the future where, after an apocalypse of sorts, the only remaining humans are gnomish clowns (as seen at right) who offer their artifacts in a nearly direct address to viewers. Read the whole article here.
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