THE FRIDAY PIC is Nicole Eisenman's “Untitled (Billy Clubs),” from "The History of Hand Knitting," the two-woman show she shares with Rosemarie Trockel at Leo Koenig's gallery uptown in New York.
I reviewed the show for today's New York Times, and as I came up with what I wanted to say, I began to wonder how much of a critic's take can be purely personal, even eccentric, and how much has to be rooted in likely readings that others might come up with in looking at the work. Which is better, a reading of Hamlet that gets at his undoubted self-doubt and procrastination (for the umpteenth time) or one that decides to test the possibility that he's all about identifying with Ophelia's female gender? Which is better, that is, explication or interpretation?
At any rate ... here's what I did come up with for the Times:
So much of our suffering is caused by male aggression. (How many victims of war have been killed by women?) But for all the horror of that violence, there’s often something oafish about it, if only because of the boundless stupidity it represents.
This show captures some of masculinity’s toxic idiocy.
An untitled installation by Nicole Eisenman presents 20 “clubs” leaning against the wall. Each is just a length of scrap wood with a dumb blob of plaster at its top, as though its maker was either too lazy or too dimwitted to perfect his weapons beyond the minimum needed to bash a head. Nearby, also in plaster, a three-fingered blob of a hand sits on the floor, ready to grab at its clubs at the slightest provocation. (“You callin’ ME a blob of a hand?!”)
A blob of a head, about three feet tall and painted blue, looks on dimly from a pedestal, as though helpless to govern its own hand.
Rosemarie Trockel contributes quite different pieces to the show, but they hit similar notes. Back in 1984, she began to order up machine-knit balaclavas, like a terrorist or paramilitary fighter might wear. But instead of being bad-guy black, they had “girlish” patterns knit into them. My favorite covers its wearer’s face in plus and minus signs, like the love charms worn by Frenchwomen that stand for “more than yesterday, less than tomorrow.” It’s not clear if Trockel’s pattern counters the balaclava’s associations with masculine threat, or if instead of pointing to a love that’s bound to increase, it lets its wearer proclaim a hatred that’s always on the rise.
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