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Alice Gregory
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Speed Reading at Definitions
by Alice Gregory November 16, 2009
Ambling on the central machine, Sina Najafi, Cabinet’s Editor-in-Chief, flanked on either side by matching treadmills, played the MC, or, as he preferred “Speed Demon,” summoning each reader from the audience by blowing a whistle. Hands in trouser pockets, strolling leisurely – indoors on a forever-repeating non-course – Najafi was a walking – ha! – parody of the flâneur. The gym, perhaps the paragon of a certain sort of urban renewal, and this one located only blocks from Greenwich Village, Jane Jacobs’s most frequently cited neighborhood, was a particularly loaded setting.
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Bruce High Quality at X
by Alice Gregory November 10, 2009
Orson Wells was quoted on Switzerland; Marilyn Monroe was quoted on Hollywood. The resumes of First Ladies were listed, as were all of the artists that Peggy Guggenheim is said to have slept with. The audience was bombarded with the words and images of Basquiat, Warhol, Becket, Oprah, James Frey, Hitler, Josephine Baker and Adolf Loos. What began as skepticism on my part melted into an appreciative transfixion. Within minutes, I began attempting to anticipate the images that would correspond with the narration.
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NADA’s County Affair
by Alice Gregory October 21, 2009
The most immediate works were the space/time-specific inter-activities, but the walls of each storefront were by no means bare. A Kenny Scharf neon graffiti piece took up most of one wall and an intimidating quantity of painting and drawing hung in each room. Offset had full-reign on a closet-sized room. The door advertised “ten contemporary artists who make posters,” and sure enough, the space was plastered like an adolescent bedroom.
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Ida Ekblad at The Journal and Gavin Brown
by Alice Gregory October 7, 2009
In each sculpture, posed ensemble is both a measured aesthetic and a perceptible freneticism. Neon plastic trash is violently secured in a cement vessel, but not without a piece of handsome driftwood or elegantly bent metal piping to provide a bit of equilibrium. The beautiful and the wretched are paid identical respect, and the suspension of both together produces not only a visual harmony but an insistent message.
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EAF at Socrates Sculpture
by Alice Gregory October 1, 2009
The little boys swarmed like flies to Kon Trubkovich’s Freefall is Free For All, a crushed car of American make and 1970s scale, that is enclosed by a chainlink fence. It would seem that the old cultural industry stalwarts of colossal destruction and megawatt violence have not stopped seducing young boys. The kids, entranced by the automotive corpse and annoyed by the fence that separated them from the car, likely missed the barrier’s symbolism, which offered a paradoxical mutual protection to both the viewer and the car itself, a well-timed display just three months after GM filed for bankruptcy.
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