Michael Andrew Page
Claustrum

★★★★☆

On until 17 February 2024

When e-flux adds #neurodivergent to the tags they use to big-data all art, Page’s paintings are sure to make the top of the set. His linen oils, as repetitious as they are meticulously executed, point to a preoccupation that few minds sustain. In granular but confusing detail, each explodes a grand structure. 

The arches, columns, and domes – half implied, half drawn in near one-to-one scale – could be the features of a cathedral. CAD, image transfers, and meditation all leave marks on these diagrams. The show’s titles then turn these monuments and their much poorer, windswept cousins into defenders of life’s frailty. Finally, they become the structures of life itself.

All this is pleasing to look at for an #actuallyautistic mind until it remembers that Page’s tent, brain, and the cathedral take the same form for a pretty good reason. To share in this discovery is the purpose of art.


notes and notices are short and curt exhibition reviews. Read more:

Some May Work as Symbols at Raven Row ★★★★☆

Some May Work as Symbols: Art Made in Brazil, 1950s–70s

★★★★☆

Art history can catch modernity in splitting from the past and thus from itself.

Vlatka Horvat, The Croatian Pavilion in Venice ★★☆☆☆

Vlatka Horvat

By the Means at Hand

★★☆☆☆

This closed circulation project speaks to and agrees with only itself.

Hannah Tilson, Soft Cut at Cedric Bardawil ★★☆☆☆

Hannah Tilson

Soft Cut

★★☆☆☆

Tilson’s styled self-portraits are an affectation that will take many years of practice to pay off.

Manfred Pernice, Megan Plunknett, >anticorpo< at Galerie Neu and Emalin ★★★★☆

Manfred Pernice, Megan Plunknett

>anticorpo<

★★★★☆

Such ‘80s nostalgia for meaning before history’s end is a comfort blanket.

Sula Bermúdez-Silverman, Bad Luck Rock at Josh Lilley ★★☆☆☆

Sula Bermúdez-Silverman

Bad Luck Rock

★★☆☆☆

This is a poor man’s version of history or a philistine collector’s absolution.

Oh, the Storm at Rodeo ★☆☆☆☆

Oh, the Storm

★☆☆☆☆

This exhibitions is trying to explain the concept of ‘crazy paving’ to a blind man. It’s impossible to tell where a work ends and the wall begins.

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