Yeah, Amory is a hero to me. He really rope-a-dopes Sholis. I was going to have "My condemnation of the Triple Candie exhibition—which I am eager to see..." in bold as the headline to this post, but decided it was just too cruel.
As for Sholis' essay, it's kind of the standard academic rubber stamp. He treats Noland as a solitary genius that emerged fully formed into the world. A more interesting essay would place her in the New York scene from the East Village and "Neo Geo" era, with references to artists doing similar work.
Sholis mentions that Noland included "work by New York artists" in her Documenta installation. He doesn't say which ones. Maybe she was a little more generous than her critical advocate(s).
I know artist Bill Schwarz, who also emerged out of the East Village scene and was in several Bob Nickas-curated shows, had a minimal style piece called 99 Bottles of Beer on the Wall that predated Noland, and the late Steven Parrino had a painting at Metro Pictures of stocks (as in the Colonial era punishment), a motif which Noland also used, in sculpture form.
The great essay still to be written (?) puts Cady Noland in context of radical or nihilist interpretations of Minimalism in the Reagan '80s, with all the connections to her peer group.
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As for Sholis' essay, it's kind of the standard academic rubber stamp. He treats Noland as a solitary genius that emerged fully formed into the world. A more interesting essay would place her in the New York scene from the East Village and "Neo Geo" era, with references to artists doing similar work.
Sholis mentions that Noland included "work by New York artists" in her Documenta installation. He doesn't say which ones. Maybe she was a little more generous than her critical advocate(s).
I know artist Bill Schwarz, who also emerged out of the East Village scene and was in several Bob Nickas-curated shows, had a minimal style piece called 99 Bottles of Beer on the Wall that predated Noland, and the late Steven Parrino had a painting at Metro Pictures of stocks (as in the Colonial era punishment), a motif which Noland also used, in sculpture form.
The great essay still to be written (?) puts Cady Noland in context of radical or nihilist interpretations of Minimalism in the Reagan '80s, with all the connections to her peer group.
- tom moody 5-17-2006 9:25 pm