Matthew Schum

  • picks August 07, 2013

    Mike Kelley

    Mythologist Joseph Campbell once noted, “Myths are public dreams, dreams are private myths.” Mike Kelley’s art embodies this idea. His ability to find rituals in the trivia of everyday life made him a shamanic figure even before his death in 2012, and his memory is now burnished by the mythos that accrues posthumously to some influential artists. Coming on the heels of Kelley’s traveling retrospective covering three and half decades in two-hundred-plus works, which began at Amsterdam’s Stedelijk Museum in 2012, the present exhibition, “Eternity Is a Long Time,” presents a small selection of just

  • picks November 14, 2012

    “Blues for Smoke”

    “Everything is at stake when you talk about the blues!” said Cornel West during an interview that is an exceptional, if ancillary piece of programming by MoCA TV. In “Blues for Smoke,” curator Bennett Simpson and consulting artist Glenn Ligon have produced a group exhibition using blues music as a foil. While it cannot entirely live up to all that is at stake here, the exhibition admirably experiments with the museum survey format to test how the politics of the objet trouvé and that of artistic identity have become intertwined.

    Near the museum entrance, a shopping cart deposits a mound of blue

  • picks August 09, 2012

    David Catherall

    The Canadian-born Belgium-based artist David Catherall employs materials that are the stock-in-trade of appropriation art. These include fluorescent lighting, slip-cast porcelain, Sheetrock partitions, silk-screened advertising bills, and carpet fragments. Industrial products and commodities have been used routinely in art galleries since the 1960s. Yet, in a sense, Catherall manages to short-circuit contemporary art’s allusive tendencies by cannibalizing artwork he has previously made.

    Key to the show at Midway is a sliding pocket door he constructed for an exhibition at the Center for Fine Arts