Following a recent tendency of postmodern photo-artists to take their conceits to extremes, Gregory Scott piles medium upon medium by taking photographs of interiors and hanging framed videos of himself performing in scenes that he has painted on the walls of the spaces he has shot. Once the meta-photographic novelty has worn off, which takes a while, the viewer is left to fathom any deeper meaning, which is not immediately apparent. In Scott’s most representative photo-work, we are drawn into a museum gallery where we contemplate an ornately framed video in which our (anti-)hero walks back and forth along a rural road, sweeping it, flying a kite, getting out of a taxi, and strolling with a woman, among many other unrelated and mundane activities; then, in medias res, the artist invades the video and tries unsuccessfully to hang a picture over it, and then the road play resumes to no obvious purpose. This is meta-photography spiked with dada—a hyper-elaborate shaggy-dog story. (Michael Weinstein)
Through January 2 at Catherine Edelman Gallery, 300 W. Superior
Gregory Bae In Memoriam: A Blueprint for an Artistic Life Many friends and collaborators drew connections between Bae’s studio practice and social justice/organizing work, noting Bae’s ability to transcend personalities and conflicts in pursuit of just principles.
Life Forms: A Review of Scott Wolniak’s “Crosscurrents” at Goldfinch Scott Wolniak expounds upon the natural world and the effect it has on him—going so far as to invoke the collocation “life-force” to describe the style of his art—in his latest transcendental exhibition at Goldfinch.
Following a recent tendency of postmodern photo-artists to take their conceits to extremes, Gregory Scott piles medium upon medium by taking photographs of interiors and hanging framed videos of himself performing in scenes that he has painted on the walls of the spaces he has shot. Once the meta-photographic novelty has worn off, which takes a while, the viewer is left to fathom any deeper meaning, which is not immediately apparent. In Scott’s most representative photo-work, we are drawn into a museum gallery where we contemplate an ornately framed video in which our (anti-)hero walks back and forth along a rural road, sweeping it, flying a kite, getting out of a taxi, and strolling with a woman, among many other unrelated and mundane activities; then, in medias res, the artist invades the video and tries unsuccessfully to hang a picture over it, and then the road play resumes to no obvious purpose. This is meta-photography spiked with dada—a hyper-elaborate shaggy-dog story. (Michael Weinstein)
