Thursday, December 5, 2013

Jeannie Weissglass; Riptide, journeys in early americana and beyond… Cathouse FUNeral




I’m not sure how to pronounce FUNeral, but I can say that artist and impresario David Dixon’s latest project is at the very least engrossing.
Dixon has taken over a floor in an industrial space in a relatively remote corner of Williamsburg, part of which is a dedicated exhibition space. Dixon’s past endeavors include the “Moonlighting” series of salon-type presentations that have now been rolled up into one alternative art burrito that is quite tasty.
The Weissglass Riptide exhibit happily exudes a salon installation wackiness that perfectly suits Dixon’s offbeat vision of the interplay of art exhibit and improvisation. Although Wiessglass's work inhabits a slightly goofy cartoon persona, her more developed small painting near the entrance is a beguiling bit of quasi post Turner atmospheric delight. 



 The works on paper present a visually revisionist take on American colonial sin, including some amusing X-rated commentary that will probably never make it into any syllabus.  






In the back room a monkish scribe sits in a corner with a “do not disturb” sign attached, hand writing the infinite litany of Pi. Billed as: "Pi-formance" by Evan Daniel Smith, who will 'draw' from memory 10,000 digits of infinite Pi (no joke).
One of the sequences came out as a complete 917 phone number, I should have called it. 





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