|Samara Golden, The Meat Grinder's Iron Clothes, 2017. Photo: Susan Yung
Biennials, by nature, are notoriously overstuffed. The most memorable works are often distinguished, for me, by scale or craft. The standouts in this show are the site-specific installations that make use of the vast window walls facing the Hudson River. Foremost among them are Samara Golden's Escheresque work, The Meat Grinder's Iron Clothes, comprising scale models of the offices or residences of several occupants of a multi-story building. Tenants include a treatment room (of an unspecified medical, dental or vanity service), a restaurant, an office, and more, all with breathtaking river views. By using mirrored panels and securing some of the units upside-down, the effect evokes that of an infinity mirror. It's both realistic and completely disorienting. (Curator Locks is publishing a book on Golden's work this spring.)
|Raύl de Nieves, beginning & the end neither & the otherwise betwixt & between the end is the beginning & the end, 2016. Photo: Susan Yung
|Casey Gollan & Victoria Sobel, Reflections, 2017
In Root sequence. Mother tongue, Asad Raza arrayed 26 individually potted saplings in one of the galleries that leads to an outdoor exhibition space. The trees have been assigned personalities, scents, and/or traits. This indoor grove is clearly conducive to socializing, with groups of chatters standing amidst the installation as if the trees were guests at a cocktail party.
Occupy Museums is an installation organizing the debts of 30 artists, with artifacts somewhat hokily embedded within the sheetrock walls of the galleries. Like the Occupy Wall Street movement from which it derives its name, it is meant to underscore economic disparity—in this case between debt-laden artists and the lending institutions which profit from the debt.
|Occupy Museums, Stress, Fear and Anxiety Bundle, 2015.
The fact that the work was made in a pre-Trump presidency time gives it an almost nostalgic feel, free from the overbearing story line that will most likely dominate work made in 2017 and after—the way 9/11 affected everything that came after. And there's no getting around the tension between the prominence of the disenfranchised in the subject matter and the expensive river views and surrounding glitz. Tis ever thus.