A Miami based contemporary art newsletter / blog

I’ll Write That Review When I Get To It


UPDATE (2/22/2010): If this review seems sloppy, rushed, or hastily written, it’s because it is. All of the above. I’ve set certain parameters for myself in writing it, much like Bert Rodriguez has for the art pieces in his latest exhibition “I’ll Cross that Bri

UPDATE (2/23/2010): dge When I Get to It,” currently on view at the Fredric Snitzer Gallery.

On February 12, the exhibition opened to an empty gallery space. No work whatsoever. Rodriguez was then charged to create a single work a day and will continue to do so for the next 25 consecutive days. Each work subsequently goes on display in the gallery. Each piece was available for sale before its creation on opening night, but collectors purchasing these works, not to mention the artist him

UPDATE (2/24/2010): self, had no idea what these works would be until the day of their completion. In keeping with the novelty of this project, I’m submitting my review in an equally novel form,

UPDATE (2/25/2010): randomly broken up in a series of updates throughout the duration of the show’s run.

The gesture of presenting an empty gallery space for opening reception, and then quickly (and no doubt sometimes carelessly) producing works at the last minute, like an art student trying to bullshit his way through an assignment the night before its due, is a glorious test

UPDATE (2/26/2010): ament to laziness. And in keeping with that spirit of laziness, I refuse to visit the gallery and see any of the work Rodriguez has produced.

Frankly, you don’t really need

UPDATE (2/27/2010): to visit the gallery to appreciate the intent of the work. The concept alone is gratifying enough. Through word of mouth, I’ve heard a little bit about some of the individual pieces. The first was a neon light sign that spelled out “WAS IT WORTH THE WAIT?” The next one I heard about was

UPDATE (2/28/2010): a note written by the artist, apologizing for not being able to complete a work for that day. Pretty funny stuff, but you don’t have to be there in the flesh to

UPDATE (3/01/2010): get the joke.

UPDATE (3/02/2010): I’m not an art collector and most people who will observe this work won’t be collectors either, but they’ll probably find the show outrageous or funny. They might applaud Rodriguez for bucking the system or pulling the wool over the eyes of these rich collectors, making them the butt of his joke. I don’t think they are. If people are spending money on this stuff, they’re clearly

UPDATE (3/03/2010): in on the joke. There’s a level of irony under which they’re operating, and I can totally relate. I think Shark Attack 3 is a great movie (never seen part one or two, and don’t need to). When I visited Florence, I made sure that the souvenir statuette of Michelangelo’s David I brought back home with me was

UPDATE (4/03/2010): the ugliest most deformed looking copy I could find. Purchasing a Bert Rodriguez is merely a more expensive version of the aforementioned. We can all share in this show’s sense of the ridiculous.

Where the show really succeeds is

UPDATE (5/03/2010): in the way it beautifully reveals the general uselessness and pointlessness of art as a commodity. Art, and I’m talking across the board, is the most nonsensical and purposeless of all human endeavors. At best the art experience is one of momentary transcendence — and who cares? You can reach approximate levels of bliss by shooting

UPDATE (6/03/2010): heroin. At the least, art experiences can be amusing. But then again, so is watching a dog chase its tail. Even the mysterious urge to create that drives most artists is irrational and illogical. It all flies in the face of common sense, but that’s why we like it. And as pointless as it all is, it’s still very

UPDATE (7/03/2010): important to a lot of people, so much so that an entire system of galleries, museums, universities, curators, and collectors exist to ensure that pretense of importance.

But despite its sometimes over inflated sense of ego, art is really just a bunch of

UPDATE (8/03/2010): nonsense. Glorious nonsense, maybe, when done right, but nonsense nonetheless. And this show is a celebration of that: of the silly, the stupid, and the pre

UPDATE (9/03/2010): posterous. It’s the class clown farting in the back of the room when the teacher’s trying to be serious. It’s everything that made art class so much fun and math class such a drag[.]

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This was contributed by Victor Barrenechea


  • Richard Haden

    ahha ha HA! HA! he he ha ha aaaaha ha ha ha, oh ….ah ha weee what a truly tricky Bravo tv preempted TV expose’ and y, what the fuck….yea, I am lol and all is good in this empty room. It was and is good to hear ones own laughing mind caught while alone in a not so alone ludic and serious room filled with us all. I have, we have, thoughts now and then…again. in this, an empty room… Hell look at what Tino Sehgal did, he emptied out the Guggenheim, only to realize Robert Smithson’s dream to empty the Gugg for a year. But wait!!!! hold the phone….hold the presses Bert emptied in the same “created situationist” style, a fashionable version of his own–site– into–being in– out of a Snitzering Switzerland conspiracy to do it yet again… AND, It works just as good as the same before.

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I’ll Write That Review When I Get To It