Friday, May 8, 2009
Performances, screenings, & closing receptions this Saturday!
Wednesday, May 6, 2009
Sonia Finley, “No Place, Here” 2nd Floor Lobby
The audience in Sonia’s video projection, “Room 715F,” can enter and leave as they want. This is the open invitation of this exhibition, too, as Sonia says in her wall text, “stay for a long time or a short time, or leave and then return later.”
In her video, Sonia and Christian interact in a room with or without an audience. It looks as though they are seeking an entrance into one another. The quality of the video obscures specifics so that at times the two bodies make a single form. But the impossibility of what they are trying to do asserts itself, and they have to separate.
We are invited to sit and read her book “No Place, Here,” which includes photographs and text. The large spandex lumps that we’re encouraged to sit on are made from the same materials and correspond to the forms recorded in her photographs. These forms are bodily and speak to skin, folds, torsos, and backbones. Although made of cheap, flashy material, the forms are transformed by the seductive quality of the photographs.
The show discusses “here,” the experience of being in this place (the gallery) at this moment. The photographs demonstrate bodily forms occupying space, and her book addresses this question directly, asking a viewer (of something) “What was it like to enter this space?”
A miniature silicone version of the lump form rests on the arm of a small white topless box that is installed on the wall of the lobby. How does it interact with its space? Why does it stay outside of it? The tone of this piece feels slightly different, but related.
Three of Sonia’s photographs are placed on the main gallery wall, but pushed to the far left side. The show is careful to leave enough space for the viewer and this wall, usually the main gallery space for artists using the 2nd floor lobby, is left open.
Henry
Tuesday, May 5, 2009
Postcards 5-5
Thursday, April 30, 2009
GO DEEP closing screening
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Wednesday, April 29, 2009
“Each Other,” Andrew Francis and Rina Goldfield on the 7th Floor
1. This show suggests rupture with punctures, cracks, volcanic eruptions, and the dislocation of body parts. But because the pieces are built around rupture, or because rupture is incorporated into a piece from the beginning, it is used as a strategy of construction.
2. Rina uses staples, thread, or in the case of the volcano paintings, beautiful varnish to “repair” rupture. These decisions, except for the varnish, allow or force the images to be objects. These function as solutions to a problem posed in paint.
3. Andrew’s bather sets up a moment of realization when the viewer first sees that the body parts don’t, in a sense, belong to one another. Each body chunk—two hands, two knees, and a head/torso piece—float separately in the confined space of the tub.
4. The bather piece is made up of poetic moments, some planned and others unplanned by design. The slight shifting in water of the body parts-as-islands. The porcelain tub. The chin touching the chest.
5. The texture of the paper becomes incredibly important in Rina’s crumpled drawings. Could the drawings have worked with less other information? And I also wonder that about the piece made by two identically sized panels separated slightly. The folds embedded in the lightly treated canvas have much to say. Did the piece need more information?
Henry
Tuesday, April 28, 2009
Exhibitions in the School of Art, April 28 - May 2, 2009
Wednesday, April 22, 2009
Re: Bodies and Pleasures, Lucy Kirkman on the 7th Floo r Lobby
capture a sense of simple comfort. Henry finds this simplicity lacking,
and looks for the pain that inevitably attends pleasure. I think,
however, this simplicity represents an act of bravery. These pieces
epitomize a lot that is uncool at art school: they are figurative
paintings; they are small, precious objects; they celebrate comfort over
criticality. Given their context, these paintings become fierce, speaking
up for joy and loveliness in a place where few others will.
Rather than directly critique our misogynist culture, Lucy offers an
alternative. She rejects the self-laceration so common in "feminist"
self-portraiture. She instead revels in the beauty of the female body and
reveals her own self-confidence. This confidence is rare among women. The
fact that Lucy's paintings lack the pain we associate with self-image thus
becomes the source of their poignancy. An image woman at peace with her
own body is a rare gem, worthy as a message of hope.
Rina
“Bodies and Pleasures,” Lucy Kirkman on the 7th Floor Lobby
These small paintings are worth taking a look at: Lucy has composed images where the viewer’s perspective is that of the artist’s, seeing her own body lying down. This is an effective strategy, if not an overt connection to a tradition of comments on viewing the female nude. If Manet's Olympia acknowledges your gaze, and returns it, in these paintings we are asked to hold the same gaze—in effect, to empathize with it. This is a subtle but powerful move.
In Lucy’s painting/projection, a painted imitation of the figure from the Andrew Wyeth painting, “Christina’s World”, is overlaid by a projection of slides showing different works from art history. So, Christina’s worlds change. This is perhaps a related gesture as the paintings, but more overt at the expense of something (the empathy?) that makes the paintings intriguing. Christina flies through a world of different paintings, but this is a trip I didn’t want to take with her.
I am not so sure if the work depends entirely on a revised feminist agenda. Probably it doesn’t, although it’s certainly there. The major problem for me is not in the strategy, or how effective it is or isn’t, but in Lucy’s take on pleasure. Except for the painting/projection, which may speak to this, the work seems to consciously leave out the provocations of pain and longing, instead portraying pleasure as something still and unchallenged. In reality, pleasure is alive, moved and affected by loss. The exclusion of that loss does a disservice to an understanding of pleasure, and to the work.
Henry
Urgent Meeting in the Great Hall Tonight 10 PM
Student Council is hosting a meeting tonight at 10 PM in the Great
Hall on STUDIOS and other important issues.
Tuesday, April 21, 2009
Monday, April 20, 2009
Exhibitions in the School of Art, April 21 - 25, 2009
Wednesday, April 15, 2009
“/Līt/”, Julie Kim and Laura Lee-Georgescu on the 6th Floor Lobby
The 6th Floor exhibition this week starts with “light”, the observation or implication of light, but puts its emphasis elsewhere. Julie Kim’s photographs, drawings and installation feel much more preoccupied with architectural space, not only interacting with John Hejduk’s columns, but also adopting them as the subject of her work. Each of her seven photographs is named after the space shown in the picture, and each shows a strong light source on the building’s staircases, lobbies, and elevators. There is something impressive particularly with her large-scale drawings, and appropriate, as she pushes her drawing into the scale of the room’s architecture. This works well, but the drawings themselves don’t fit quite right. My first impression was that the manner of lighting felt very familiar, pulling these away from specificity and into what feels like more generic scenes. This may not be undesirable, but doesn’t make as much sense paired with Julie’s sensitivity of touch and the commitment to observation that these drawings imply.
Julie’s drawings also speak, in some instances, in oddly graphic or architectural terms, forcing planes and hard edges that complicate the organic nature of light and shadows. This occurs in Laura’s work as well, where hard forms hesitantly structure the organic forms of her paintings. A dark, graphic corner obstructs “Aqua” and a similar strategy is used in the corners of “High Altitude.”
But this issue in Laura’s work, the hard edge imposed over the organic, has more to do with the problem of resolving an image than about a graphic or architectural concern. Laura’s paintings seem driven by a process of staining that is both incredibly spontaneous and also strangely confining. How to work over the delicate and graceful spill? These paintings, which have powerful moments, feel at pains not to disrupt those moments at the expense of the whole work. Her painting, “ Yellow Room” escapes this problem in a way that is not entirely easy to pinpoint why. Perhaps at its somewhat smaller scale, the amount of paint, and the scale of the forms, feel more complete. It also has a strong structure, bisected horizontally by a line underneath the cotton.
Some of the more successful moments come when the paintings reference something naturalistic, sky or clouds. Laura may have had this in mind with her title, “High Altitude.” The work also has an occasional reference to photography which feels intentional. These paintings feel like they are moving in a direction and are at an interesting but incomplete stage.
Henry
Great Evenings in The Great Hall
The Cooper Union for the Advancement of Science and Art Celebrates its
150th Anniversary
Abolition & Civil Rights: An evening commemorating the role of Cooper
Union's Great Hall in Advancing Social Justice in America.
Reverend Dr. Calvin O. Butts III, Pastor of Abyssinian Baptist Church and
President of SUNY College at Old Westbury
Thulani Davis, Author and interdisciplinary artist
Prof. Eric Foner, Columbia University
Barbara Feldon, Actor
Prof. Manning Marable, Columbia University
Marina Squerciati, Actor
David Strathairn, Actor
Music by the New York City Labor Chorus
Tuesday, April 21, 2009 at 6:30 pm Free and open to all
The Great Hall, Seventh Street at Third Avenue
(#6 train to Astor Place, R&W Trains to 8th Street)
David Greenstein
Director of Continuing Education and Public Programs
The Cooper Union
30 Cooper Square
New York, NY 10003
Tel: 212-353-4198 Fax: 212-353-4183
Tuesday, April 14, 2009
Exhibitions in the School of Art, April 14 - 18, 2009
Thursday, April 9, 2009
"Rich Mixtures of Similarity"
This seeming unfinished mess offers a thoughtful rumination on the process of generation. Laura's appropriation of discarded construction materials for art offers an unexpectedly hopeful message of growth. She builds new edifices out of the remnants of broken buildings, but not literal ones. Laura's constructions seem like houses of possibility: the funny, lovely moments that emerge from her rubble (light reflecting off of copper, a piece of peeling blue tape) speak to what could emerge. Laura reminds us of the beauty that grows out of common detritus. Decay invariably leads to growth, but humans can guide this process.
This hope for regeneration culminates in a semi-complete tower hiding behind the curved corner of the gallery. The tower, constructed of white wood fragments, teeters from floor to ceiling. It immediately reminded me of Vladimir Tatlin's Monument to the Third International. Tatlin intended his tower of industrial materials to be the centerpiece of Communist Russia. He sacrificed building practicality to his perfect vision, however; his tower, like the Communist Utopia, could never be realized.
Laura's makeshift version offers an alternative to Tatlin's utopian perfectionism. A white tower must symbolize a beacon of hope, yet Laura's is fragmented and unstable. Laura refreshes Constructivism by fracturing it, suggesting that new spaces are fragile restructurings of old ones. I ran into Laura after seeing her show. She told me that she planned to continue playing with the materials over the course of the week that her show would be up. This seemed fitting: for Laura, creation is an incomplete process of change. The final dismantling of Laura's show will not be its end, just another step in her constructive process.
-Rina
*Edited on 4-10 at author's request
Wednesday, April 8, 2009
Yo Te Negaré Ante Mi Padre y Mi Escuela
Interestingly enough the reaction of some people to the show brought up the same questions that the work tried to criticize. It is not the first time that popular religious imagery is used as a base for a different composition. But is this imagery juxtaposed with a whole different agenda that offended some people. The strict catholic dogmas the show was trying to portray as unrealistic and at times unfair, were the same dogmas that prevented some from looking at the show. Although subtlety was not part of Baeza's vocabulary the small hints of humor and cultural reference reminds you of a contemporary issue that surprisingly, as we saw before the show, still exists.
But prints will be prints. And after all, they showed again their power to stir things up. The show had a very ambitious collection of techniques, varying from woodcuts, silkscreen to the painful photogravure- all executed with a great sense of confidence. I was happy to see the installation next to the elevator doors because it brought the printed matter out of its nicely crafted frame and used its reproductive qualities for a different purpose. It was refreshing after all to see a senior show with such a dedication to the print.
S.A.
"Inner Yonder," Amelia Hall on the 7th Floor Lobby
In her drawing under the two 7th floor windows, Amelia has synthesized the object quality of some of her prints with the environments she creates in her drawings, so that the drawing, in a variety of textures, makes this invented environment an object itself suspended in the space of the page. Only a very small rabbit on the left hand side seems to imply that there is a ground outside of the sidewalk in front of the building. For me, this is emblematic of the sense of humor in the work. The rabbit—insignificant, cute—grounds the work.
In the framed drawing of a Victorian-type house, Amelia has made a picture of a fairly familiar kind of house in a very direct way, seemingly from imagination. This is the first piece that convinced me of the pursuit of a child-like imagination (the title, “Inner Yonder,” itself a kind of quirky title, speaks to the fantasy lands of the mind). The immediacy, sloppiness, quality of mark making also bring me into that space. In the drawing under the window, the play of competing textures and shapes makes the piece more compelling, and this drawing could use more of an exploration of that imagined space, if at the expense of immediacy.
Environments are interspersed with images of equally fantastical (but still attached to a kind of Victorian aesthetic) objects. These objects are luxury items, invented jewelry as in the case of the five small watercolors with collaged magazine cutouts and drawing. They operate, like everything here, on a very particular internal logic. The two black and white etched gems are the only pieces in the show that don’t seem made from an internal place, but are physical and weighted.
Some of the work might benefit from more physical presence. The playfulness might feel fuller in more concrete form. Some of the work is so faint that one can barely see it, like the green colored-pencil drawing of gems, which almost disappear into the paper. What could be a sort of gentle, prodding humor runs the risk of coming across as non-committal or too nonconfrontational. Perhaps it’s difficult for me to decipher what this kind of imagination, deliberately naïve or naïve at all, says, and maybe that comes down to the question of aggressiveness or lack of aggressiveness in form. If the work wants to baroque, maybe it needs to be more baroque?
Still, the gold painted window felt like a nice demonstration of the thinking happening in this show. The luxury of a gold, ornamental frame around the window contrasted with how it’s painted, I think in gold paint (opposed to gold leaf) and painted with immediacy.
Henry
Tuesday, April 7, 2009
Plywood Extravaganzas: A Rant
Postcards 4-7-09
Wednesday, April 1, 2009
“Communications Programming,” Alex DeCarli and Dmitri Hertz on the 6th Floor
Following this train of thought, the work seemed to be involved with the problem of its own display, a problem that sculpture more than any other medium seems to take most seriously. And, I guess, it’s a serious problem when you exist in the messy world of three dimensions. The attention to how something is contained allows for some of the nicer parts of the show, like the painted table holding a small video or video game screen, or the container that props up the TV on which a video of a man trying, and failing, to stab himself plays. This container changes the potential moment of viewing radically, so that we are forced to completely “look down” on the video.
This video also captures a recurring tone to the other work in the show and its display. Ironic angst, if that’s the right way to phrase it, present in this piece also plays into the brick (or what I thought might have meant to be a sculpture of a video game representation of brick) that is crushing the middle of a phallus. I honestly don’t know why sculpture shows insist on repeating phalluses. But it’s also possible, in the spirit of irony and fake angst, that this attempts to be a post-phallus phallus piece. Or does every phallus sculpture intend to be that? Certainly that is an easy metaphor to take from it, though I’m not sure how much I can believe that reading.
I failed to watch the performance at 7 and so someone else's reflections on that would be useful here.
Henry
Tuesday, March 31, 2009
Postcards 3-31-09
Awol Erizku, "Famous Faces / Diff'rent Places" in the Great Hall Gallery
Constance Armellino and Anna Hutchings in the Houghton Gallery
Alyssa Kosmer, "Schadenfreude" on the 2nd Floor Lobby
Alex DeCarli & Dmitri Hertz, "Communications Programming" on the 6th Floor Lobby
Caitlin Norgard, "Nerken" on the 7th Floor Lobby
Edited. Thanks to D William for the remaining postcard images!
Wednesday, March 25, 2009
“Whatsoever Things are True,” Houghton Gallery and 2nd Floor Lobby
David Maron’s twelve small silkscreens and one larger print in the left corner give a good example of the show at its best. These prints offer more subtle information than many of the text-based pieces in the show, and manage also to be more compelling. The forms in these prints are being conjoined, spliced and bisected. They hold you and, in rich, colorful gradients, seem to move in front of you. The “23 Dead” poster, which feels so final and frightening, doesn’t let you pass it easily. Sometimes the work, or more accurately the push for cleverness in the work, becomes cheap. The posters made in famous modern art-historical styles feels tired, and the attitude in the “shut the fuck up” cake isn’t convincing.
But there are many virtues to the show, and too many to recount all of them. Part of the appeal of the show is just how much hard work there is in it, and the work is so much and so varied that it spills out into the second floor lobby with some of the more beautiful pieces in the show. One of the best highlights of the show may be its careful and committed design, down to the way in which the artist information is conveyed. Each artist has a symbol so that even when the different artist’s work is put together, little symbols indicate the individual maker. Everything has information and all of that information here gets a package.
Henry
"Brand New Geography for Old-Timers"
Susan Little's sculpture in the Great Hall Gallery, under the hole in
the ceiling, compellingly allies with the title of the exhibition,
"Historical Geology for Beginners." This interesting turn of phrase
offers an opportunity for lots of play, and lightly touches hard
questions; for example, there is a pun between the words "geology" and
"geography." It is an understatement to say that geological time
exceeds historical time. To think in geological time is to recognize
the incredible brevity of the human span, a thought that renders
"geography" and its political maps ironic, if not silly (while, at the
same time, we have lately noticed that we are not as harmless as
flies). The word "beginners" is also absurd. It seems like a great
deal to teach a beginner the history of Earth. An understatement
again. It's impossible. Earth can't write, yet this title and this
work lend it a memory of a record and a history.
The piece is notoriously missing parts, which renders it still more
site-specific: the below-ground exhibition space, currently territory
of the Sciame company not the Cooper Union, infamously clashes with
the work of students to whom the space is promised, with about the
carefulness of icebergs. There are intended to be 50 ceramic
plate-sized pieces, in the shapes of all of the United States.
Leaning on handmade steel display stands, like new books, they all
face front. They are distributed on a large, about 8-inch high and
solid square base, which is unpainted and looks like the splintery
scrap wood used in construction work. It is utilitarian and doesn't
elevate the work like a pedestal. I am not sure what it means for the
piece to be so close to the floor rather than at eye level, where the
viewer could take in the subtle variations of the clay. There is,
though, a certain sense of grounded-ness when confronted with an
object that sits by your feet on the same horizontal plane.
The ceramic states are all glazed imperfectly, the same white. I
interpret this choice in part as an elimination of the color
differences between states, while still referencing the way a map
usually differentiates them. The edges, the state lines drawn by
rivers and human minds, are articulated in detail. But edge is no
longer a line; it's a thickness of clay, making the transition through
objecthood from "geography" to geology. Walking behind them, which
Susan has allowed room to do, their naked red backs are exposed, which
are grooved as a part of the process of making them. We can look from
below the surface (the back), and see the map backwards, which is a
bit like seeing a flag upside down. Since only one side is glazed,
they are more tiles than plates. The clay can remind you of the dirt
below the surface of everything. This is further emphasized where
gashes like wounds interrupt the glazed surfaces. Here again, it is
impossible to name these states without also thinking of their history
of breaking and floating apart, all made of the same matter and now
outlined and alone. They become icebergs or tectonic plates, so the
space between them would be the ocean, but they remain upright on
display and dispersed not only on a sphere but both in the foreground
and the background. Again working against the conventions of maps,
they are not flat. Not only is the earth not flat, the country is not
flat. They warp convex and concave, a reminder of their softness and
the baking process.
So, it is like the earth, like a kitchen or a bathroom, was tiled, and
surface layer has been lifted off. The unanswered question of where
the earth is now fills the space around the sculpture. It is gone, in
a way, it is absent, while the sense of the human hand and the
earth-likeness of the clay doesn't leave you alone. It is good as a
viewer, not to see colors, lines, or flatness, and see so much
instead, to be a beginner and look.
The 7th floor Lithographs
Fortunately Mark's show on the seventh floor has brought the idea of the biography into a series of lithographs that not only narrate his "story", but with a visual language, helps us remember (or introduce us) to a conflict larger than the "self".
I believe the prints told a story more complex than the mere retailing of a Dominican conflict, the "poster" language used served adequately, it did not overly sentimentalize the story nor did it over simplify it.
Political imagery, specially associated with Latin American politics can often result in the same simplified posters alluding to socialist aesthetics or indigenous imagery just to make a point. But Mark's way appears more sophisticated than the usual portrayal of, not only a country, but also a continent's struggle for democracy. I believe he achieved success by not forgetting the importance of artistic individuality rather than using motifs or clichés.
Lastly I would like to mention, for those who though silkscreen would be a more appropriate medium for the prints, that the usage of lithography was important for the style and execution of the image specially considering the level of successes achieved.
S.A.
Tuesday, March 24, 2009
Wednesday, March 11, 2009
“New Work” by Maren Mill, Saki Sato, and Avery Singer on the 7th Floor Lobby
Singer, does not, as the title suggests, have a theme, so much as the
work visually and conceptually speaks to one another. Roughly ten
pieces are on display in this group show, with sculpture, collage,
photograph-posters (plotter-print vogue never dies here) one painting
and one wall drawing as well as a video. The connection between the
work is in some cases explicit, for instance the painting of a
throne-like chair (with a clashing, graphic red and blue background)
and the actual, physical throne set on a base. In other cases the
connection is made very simply and visually, like the radar-like
sculpture which faces the photo of a globular fish-eyed window. This
poster of the window hangs above the video of a chair in an empty room
facing a window which displays a distant seascape, making a subtle and
comical link. In one, the empty living room lets out into another
space, and in the photograph, the fish-eyed window reflects back onto
a scene of an elaborately decorated living. This video of a chair
facing the window is, ironically, the most quiet and most
still-seeming piece in the show.
If "New Work" isn't exactly themed, themes abound: windows, mirrors,
shadows, chairs seem, the more I think about it, to be everywhere in
the exhibition. What makes the video of the chair facing a window
subtle and appealing is lacking in the other work, which is often
crudely made to no apparent end.
Henry
Edit: as commenter points out, "Welcome" is the title of the show, which makes my suggestion that there isn't a specific theme slightly more questionable. But I think the general thought remains, that while there are definitely themes to the show it doesn't have one specific theme.
Thursday, March 5, 2009
A note on Abigail Collins' video in "In Response to Choking." In the Houghton Gallery with Kirby Mages
better to do before you have to. In her understated video in the
Houghton
Gallery, in a show that she shares with Kirby Mages, Abigail considers
direction-- the english translation for azimuth-- and what having an
"objective" might mean. The camera moves clockwise for 360-degrees
before switching locations (a theater, a snowy field, a church) as
Abigail narrates what sounds like an army-manual on the importance of
taking azimuth checks.
This relatively short video has a lot to say, I think, and deserves
the time it would take to really listen to what Abigail is saying. I
can't say that I fully grasp what I think Abigail is doing here, but
several themes seem relevant. There seems to be something at stake,
though, and maybe that's a defense for a certain way of living, or of
a certain way of seeing living. Perhaps it is a very basic thought,
like, despite the pressure to be single-focused and goal-driven, it's
important to give the time and patience to consider where you are--
not always where you're going.
Tuesday, March 3, 2009
Josephine Heilpern, “We missed the whole thing.” in the Great Hall Gallery
It seems like Josephine is trying to say something about tourism, and a particularly American brand of tourism, as popular images of the moon landing, takes offs and landings, and earth from outer space are all crucial to modern American self-mythology. What have we missed? The trip to the moon? The trips that made the vantage points to see earth in this way possible?
“Space” in a more general sense gets a brief mention, in a small, seemingly out of place drawing of a staircase that pushes into the space of the picture. This was a good joke, I thought. And it was nice also to see a crack in the otherwise over-devotion to theme. Would it be okay to show something not at all related to space launches or to NASA memorabilia? It would have been nice, I think, to see more of these cracks, even if it compromised a scrupulousness to message.
Henry
Postcards 3-3-09
Thursday, February 26, 2009
Brief Thoughts on "Trichinae, Trachiniae," Caitlin Everett, 2nd fl. lobby
Tuesday, February 24, 2009
A Note on "Quality Service," Staff Show on the 6th and 7th Floors
Considering the crunch on exhibition space, a sprawling two-floor staff show may strike some as ostentatious. It may be ostentatious. And shows with the face of the administration behind it (with, like, a title and subtitle) and here I'm thinking of the Middle States show last Spring, tend to feel clumsy and pretentious, especially at a time when the administration and the art-student body have such a tepid relationship.
Still, it was hard not to feel some sense of community—a strange one, fractured by the studios in LIC, and in apprehension of this big, new endeavor where Hewitt used to be—but a community.
Wednesday, February 18, 2009
A Couple of Quick Thoughts on Oliver Loaiza's 7th-Floor Show
Not that the show or the work doesn't stand on its own, and not that it has to be seen in terms of the sixth-floor show. The work in the show was in some ways correlated, but it didn't strive to stick to a theme, or to exist solely within the universe of the show. The golf club-pipes, the (cow?) tongue, the fittingly hard-to-hear drone of a woman speaking on tape—these pieces operated more quietly than the work on the sixth floor or the show and performance on the second floor (which also deserves time and thought) but thinking about them the next day, they seem harder to shake.
Henry
Tuesday, February 17, 2009
Lisa Larson-Walker and Harold Batista on the 6th Floor, “One Liners by Two People”
This question of irony animates the show, and in some senses, the show reanimates for me a strategy of irony. "One Liners by Two People" keeps painstakingly true to its title. The work, including but not limited to a slinky on an escalator (that needs a little nudge), a live drummer who beats out the famous one-liner anthem ("buh-dum-cha") every time you look at a poster that reads "that's what she said," a "face painting" where you can pose to have your picture taken, a Hirst-shark-in-a-tank-piñata, is in each instance a one-liner but one-liners that work—I'm entertaining the idea at least, and if we're allowed to call it work and to take it seriously—critically, and with good humor.
My first smile came peering into a pedestal that had the scrolling text,
Another joke—Lisa Larson-Walker, who I only met briefly at the show, told me that if I had any questions that she would be here all week. I laughed and she caught the joke in what she had said before being pulled away by Harold, who she was handcuffed to.
Henry
*edit: The scrolling text in the show, which I originally misquoted as "I can't" is supposed to be