China Art Objects Galleries

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Ad Astra

by Andrew Berardini
I’m not sure that anything ever looks like the thing you’re supposed to be looking at. Looking at the paintings of David von Schlegell (1920-1992) I know I can’t be seeing what he saw, though there is no way truly to be sure. Monochromes that fade from corner to corner along a diagonal crest with ragged edges of picture plane pooled with paint, sometimes edged with warm grain of smooth wood, the paintings look nothing like paintings to me, but other much stranger sights. They are sci-fi... [more]
Posted by Andrew Berardini on 1/31/12


by Marcus Civin
1 Jonathan Pylypchuk’s current solo show at China Art Objects, In the Absence of Human Bastards, is an adroit, funky, pissed off, “Fuck You and Fuck Me Too.” Pylypchuk’s title, In the Absence of Human Bastards, suggests a state of being far away from human bastards. This could possibly get a little philosophically/semantically tricky. Perhaps an animal or alien speaks the title, judging all humans bastards, or perhaps a human speaks but not a human bastard. The title could also suggest a... [more]
Posted by Marcus Civin on 3/7/11

Between Purity and Material

by Ed Schad
Michael’s Rashkow’s solo show at China Art Objects features an assortment of sculptural moves that exist somewhere between the old fashioned modernist belief in pure encounters with abstract form and a dirtier 1970s conceptual vision that such pure encounters are impossible, that materials are simply materials to be moved around and rearranged. It is difficult to determine whether or not Rashkow aligns himself with one view or the other, and this uncertain stance towards sculpture reshapes the... [more]
Posted by Ed Schad on 7/20/09

A Look at Walead Beshty

by Nico Machida
Since the turn of this century, Walead Beshty has been putting the medium of photography into the service of various social and political critiques, with consumerism chief among his targets. In series like “The Phenomenology of Shopping,” 2001-2003, which depicts Beshty variously fondling, inhabiting, and becoming one with everyday commodity displays, the fact of photographic capture seems to verify and seal the literalness of the artist’s critical act. In this work, the conceptual rigor of the... [more]
Posted by Nico Machida on 1/27/08