"Cady Noland Approximately" is, according to its organizers, "the first survey ever devoted to Cady Noland's oeuvre." This aesthetic act of karaoke, identity theft, body snatching, and entrepreneurial table turning, created by Shelly Bancroft and Peter Nesbett, co-directors of Triple Candie, a not-for-profit space that they have dubbed "Harlem's alternative for contemporary art," is a slap in the face, an act of misguided love, and an extremely challenging, maybe even radical, idea that could end up a fascinating footnote in future art history books. According to Bancroft and Nesbett, "The exhibition consists of objects re-created by the co-directors and four artist-assistants from images of Noland's art found on the Internet and in exhibition catalogs."
The Village Voice didn't think very highly of it, but although I didn't see the actual exhibit myself, I'm fascinated by the ideas brought up by it and the potential ramifications it has.
personally, I think the David Hammons thing is slightly more interesting... it's basically doing (symbolically) for galleries/art what Napster did for the internet/music... proving that in the information age, everything is available for free to anyone with a modem (even if it is just a poor quality reproduction)... that as soon as you release something to the world, it no longer belongs to you, it belongs to the world, and there's absolutely nothing you can do about it |
