Things I noticed as I viewed the holdings of gallery after gallery:
there are big pieces with small ideas and vice versa
there are schools but not trends
what was once a trend is now a historical option
an historical option is not perceived as in being any chronological order but as an item on a menu equidistant to all others
there were virtuoso scissorers who I thought of, absurdly, as string players and artists who were literally string players
black on black which always has a matte vs shiny mystique was undergoing a revival
there were any number of permutations on the theme of the scary clown or the innocently- but- fatally- demon born
that our Gothick is more Teutonic than the Gothicizing modes of previous decades; it has a Hoffmannesque quality to it. One of his heroines turned into a carrot.And if a certain morbidezza is the mood it is the mood of more than a moment.
Graphite artists of utmost nuancedness, photographers of urban prairies of desuetude or other alienation effects--always alienation effects--under enlargement.the morganatic marriage of art to costume legitimized ,the triumph of the C print.the happy sense that an artisanal technique did not,after all, require the aegis of irony to assist in its revival.
in every major american city a major painter of celestial blues, blues out of medieval books of hours transposed to the twenty-first century;why now?