Cabinet Gallery, London, UK
21 March – 26 April 2014
“Write down a desire,” comic book writer Grant Morrison advised in his wildly engaging talk at the 2000 DisinfoCon, “take out all the vowels and the repeated consonants, and turn that into an image that looks magical.” Coming up on drugs, speaking to a crowd of conspiracy theory devotees, Morrison describes a simple entryway into magic, trying to revive the sigil practices of people like artist and occultist Austin Osman Spare, a spell of sorts meant to focus a wish into something realisable. “This shit works!” I tried it once. It didn’t work, but it says a lot about the self-fulfilling determination of magical adherents: if you’re looking for something hard enough, you’ll find it in some form. An undecipherable glyph of jumbled letters – an e, an i, a backwards c and k – painted in faded reds and blacks adorns the stained cloth banner of Elijah Burgher’s Mictlantecuhtli’s grin (2013), which presides over ‘Alms For The Birds’, an eight-person group show curated by artist (and Turner Prize nominee) James Richards. This compact but pleasurably elusive exhibition is filled with remnants, tokens and traces that, like Burgher’s sigil, leave us to imagine the desires and strange rituals that led these artists here.
‘Alms For the Birds’, installation view. Image courtesy the gallery.
One man lays a noose over the head of another man; small labels dangling off each of the figures indicate that the doomed victim is the ‘Artist’, the knotted rope represents ‘Platitudinous Phrases’ being placed on him by the ‘Art Critic’ and ‘Word Mongerer’. This sceptical moment is just a small corner from Ad Reinhardt’s collage comic How to Look at Art Talk. Tucked into London ICA’s Fox Reading Room was a collection of 27 of his ‘How to Look at…’ series of mock lectures that appeared from the 1940s to the 60s in the New York publications PM, ArtNews and Transformations. Self-described as ‘a nosegay for the art-schmeckers’, Reinhardt’s comics are a refreshing antidote and timely reminder to current debates droning on about supposed crises in criticism.
Chaotically diagrammatic and ironically explanatory, the series actually represents informal criticism disguised variously as introductions to iconography, cubist paintings, surrealist art and any number of Reinhardt targets felt like taking a shot at. It is something like Max Ernst’s 1934 graphic novel Une Semaine De Bonté (A Week of Grace) on semantic speed, using old etchings and cramming type into every corner to collect quotes, art world inanities, style surveys and quick scenester reviews. The central kernel might be the recurring scene of a man mockingly pointing at an abstract painting – ‘Ha ha what does this represent?’ – followed by the painting angrily jabbing a finger at the frightened man and demanding, ‘What do you represent?’ For all its jaunty aesthetic philosophising, Reinhardt makes it clear that, for him, abstract painting is where it’s at. In How to View High (Abstract) Art, the ‘picture artist’ is compared with a reactionary who breeds illusion, imitation and hack skills while the abstract painter carries the qualities of honesty, dignity and decency.