The show itself is mostly an archival document of their activities, and the jokes have aged better than the aforementioned references. Their impersonations of media figures and advertisements has a clear conceptual lineage, although putting them in a news/popular media context makes those moves more effective than if they were done in the art world, not to mention funnier. Consciousness-raising doesn't turn out to be very useful when we don't live in a democracy where the political system is actually beholden to its citizens, but things were less cynical back then. The Yes Men, knowing this, are more of a media terrorism group than artists, although their interventions are more art-inflected than Michael Moore or The Daily Show, the best remembered examples of the early oughts consciousness-raising political humor trend that The Yes Men are a part of. The problem of art as activism is, of course, that a gallery is an idiotic place to attempt activism. Theodor Adorno - Aesthetic Theory - *****Īndrea Fraser: Collected Interviews 1990-2018 Mercury Retrograde - Emily Segal (The Question of Coolness) Gerhard Richter Marian Goodman & Lise Soskolne Svetlana, Park McArthur Essex Street, The Cleaners of Mars Reena Spaulings - Addendum: Notes on Psychedelic ArtĬoncerning Superfluities Essex Street vs. Isa Genzken Galerie Buchholz, Art Club2000 Artists Space, Jef Geys Essex Street In Search of the Worst Painting on the Lower East Side
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The Manhattan Art Christmas Movie Review Special: Notes on Eyes Wide Shut Paul McCarthy and the Negative Sublime, Paul McCarthy Hauser & Wirth The Aesthetics of the Refusal of Aesthetics, Sara Deraedt Essex Street (2016) The Rules of Appropriation Liz Magor, For Example, Liz Magor Andrew Kreps The Manhattan Art Review's Best & Worst Art Shows of 2021Ī Response to Eric Schmid's Press Release for Henry Fool Triest
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