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	<title>Degree Critical</title>
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	<pubDate>Wed, 14 Jan 2009 22:07:51 +0000</pubDate>
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		<title>Camille Rose Garcia at Jonathan LeVine</title>
		<link>http://artcriticism.sva.edu/degreecritical/?p=100</link>
		<comments>http://artcriticism.sva.edu/degreecritical/?p=100#comments</comments>
		<pubDate>Tue, 25 Nov 2008 21:08:13 +0000</pubDate>
		<dc:creator>ahertz</dc:creator>
		
		<category><![CDATA[Fall 2008]]></category>

		<guid isPermaLink="false">http://artcriticism.sva.edu/degreecritical/?p=100</guid>
		<description><![CDATA[
Camille Rose Garcia’s second solo exhibition at Jonathan LeVine, “Ambien Somnambulants,” just might be the perfect exhibition for adults who like their fairy tales served with a hefty dose of quasi-nihilistic sociopolitical observations.
Garcia, who is increasingly considered one of the leading ladies of the Low Brow movement, is known as much for her glossy finishes [...]]]></description>
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		<title>Keith Tyson at Pace Wildenstein</title>
		<link>http://artcriticism.sva.edu/degreecritical/?p=98</link>
		<comments>http://artcriticism.sva.edu/degreecritical/?p=98#comments</comments>
		<pubDate>Sun, 23 Nov 2008 22:30:52 +0000</pubDate>
		<dc:creator>jedwards</dc:creator>
		
		<category><![CDATA[Fall 2008]]></category>

		<guid isPermaLink="false">http://artcriticism.sva.edu/degreecritical/?p=98</guid>
		<description><![CDATA[
Keith Tyson’s art is powered by the hidden forces that govern creation, whether that of an artist in the studio or of the universe at large.  In “Fractal Dice,” his current show at Pace Wildenstein, he grapples with the former, with results radically different from last year’s more cosmologically-minded “Large Field Array.” While the [...]]]></description>
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		<title>Mike Cloud at Max Protetch</title>
		<link>http://artcriticism.sva.edu/degreecritical/?p=95</link>
		<comments>http://artcriticism.sva.edu/degreecritical/?p=95#comments</comments>
		<pubDate>Sun, 23 Nov 2008 22:09:41 +0000</pubDate>
		<dc:creator>jedwards</dc:creator>
		
		<category><![CDATA[Fall 2008]]></category>

		<guid isPermaLink="false">http://artcriticism.sva.edu/degreecritical/?p=95</guid>
		<description><![CDATA[
Mike Cloud characterizes his work as systematic painting, yet it looks more like the product of obsessive thrift store bricolage than the dry, inert products one usually associates with that term. In the recent work on display in “Agreement &#38; Subjectivity” at Max Protetch, he puts the techniques of artistic and commercial screenprinting through a [...]]]></description>
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		<title>&#8220;In the Land of Retinal Delights: The Juxtapoz Factor&#8221; at Laguna Art Museum</title>
		<link>http://artcriticism.sva.edu/degreecritical/?p=92</link>
		<comments>http://artcriticism.sva.edu/degreecritical/?p=92#comments</comments>
		<pubDate>Tue, 04 Nov 2008 02:09:44 +0000</pubDate>
		<dc:creator>ahertz</dc:creator>
		
		<category><![CDATA[Fall 2008]]></category>

		<guid isPermaLink="false">http://artcriticism.sva.edu/degreecritical/?p=92</guid>
		<description><![CDATA[
Come one, come all and behold a real, live art movement, right now, in the 21st century!
It’s hard to believe that in the age of fissures and post-post modern indecisiveness, a cohesive art movement exists. The idea seems to belong in a sideshow theater, as an anomaly or a relic of the past, but there [...]]]></description>
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		<title>Christian Marclay at Paula Cooper</title>
		<link>http://artcriticism.sva.edu/degreecritical/?p=88</link>
		<comments>http://artcriticism.sva.edu/degreecritical/?p=88#comments</comments>
		<pubDate>Mon, 27 Oct 2008 23:15:31 +0000</pubDate>
		<dc:creator>aimee</dc:creator>
		
		<category><![CDATA[Fall 2008]]></category>

		<guid isPermaLink="false">http://artcriticism.sva.edu/degreecritical/?p=88</guid>
		<description><![CDATA[
As an artist whose work explores, in myriad mediums, an interest in “how sound is visualized,” Christian Marclay now seems newly compelled by how sound can be eulogized. For his current show at Paula Cooper Gallery in Chelsea, Marclay has created a group of large cyanotypes that act as gravestone etchings of popular music’s essentially [...]]]></description>
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		<title>Kako Ueda at George Adams</title>
		<link>http://artcriticism.sva.edu/degreecritical/?p=78</link>
		<comments>http://artcriticism.sva.edu/degreecritical/?p=78#comments</comments>
		<pubDate>Mon, 27 Oct 2008 01:03:11 +0000</pubDate>
		<dc:creator>jedwards</dc:creator>
		
		<category><![CDATA[Fall 2008]]></category>

		<guid isPermaLink="false">http://artcriticism.sva.edu/degreecritical/?p=78</guid>
		<description><![CDATA[
Cut paper art has an immense history, going back as far as the 6th century in China and the 16th century in the West, yet despite its long existence stylistic developments have been rare.  Even today, most papercutting tends to fall into two dusty categories: geometric decoration and bland narrative.
Kako Ueda is one of [...]]]></description>
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		<title>Tris Vonna-Michell at Dispatch</title>
		<link>http://artcriticism.sva.edu/degreecritical/?p=64</link>
		<comments>http://artcriticism.sva.edu/degreecritical/?p=64#comments</comments>
		<pubDate>Fri, 15 Feb 2008 20:20:46 +0000</pubDate>
		<dc:creator>Christine Licata</dc:creator>
		
		<category><![CDATA[Spring 2008]]></category>

		<category><![CDATA[Christine Licata]]></category>

		<category><![CDATA[Dispatch]]></category>

		<category><![CDATA[Performa 07]]></category>

		<category><![CDATA[Tris Vonna-Michell]]></category>

		<guid isPermaLink="false">http://artcriticism.sva.edu/degreecritical/?p=64</guid>
		<description><![CDATA[
British artist Tris Vonna-Michell’s co-conspiratorial and dynamic performance Tall Tales and Short Stories took place in Dispatch’s compact storefront on Henry Street. Over a period of four days he told each visitor that stopped by a customized tale, redefining the tradition of storytelling with a Fluxus-inspired lexicon of deconstructivist semiotics and discontinuous, fragmented images.
Vonna-Michell sat [...]]]></description>
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		<title>Chris Marker at Peter Blum</title>
		<link>http://artcriticism.sva.edu/degreecritical/?p=62</link>
		<comments>http://artcriticism.sva.edu/degreecritical/?p=62#comments</comments>
		<pubDate>Sun, 13 Jan 2008 03:15:43 +0000</pubDate>
		<dc:creator>atimin</dc:creator>
		
		<category><![CDATA[Spring 2008]]></category>

		<category><![CDATA[Alyssa Timin]]></category>

		<category><![CDATA[Chris Marker]]></category>

		<category><![CDATA[Peter Blum]]></category>

		<guid isPermaLink="false">http://artcriticism.sva.edu/degreecritical/?p=62</guid>
		<description><![CDATA[
Chris Marker is an acknowledged master of montage, and although still imagery has figured prominently in his films since 1963, when he directed the iconic science fiction parable, La Jeteé, his photographs have just been shown for the first time. These portraits and group shots crackle with the contrast between black and white, society and [...]]]></description>
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		<title>Allan Kaprow: 18 Happenings in 6 Parts (Re-doing) at Deitch Studios</title>
		<link>http://artcriticism.sva.edu/degreecritical/?p=55</link>
		<comments>http://artcriticism.sva.edu/degreecritical/?p=55#comments</comments>
		<pubDate>Wed, 19 Dec 2007 03:41:50 +0000</pubDate>
		<dc:creator>slandres</dc:creator>
		
		<category><![CDATA[Fall 2007]]></category>

		<category><![CDATA[Allan Kaprow]]></category>

		<category><![CDATA[art review]]></category>

		<category><![CDATA[Deitch Studios]]></category>

		<category><![CDATA[Performa]]></category>

		<category><![CDATA[performance art]]></category>

		<category><![CDATA[Sophie Landres]]></category>

		<guid isPermaLink="false">http://artcriticism.sva.edu/degreecritical/?p=55</guid>
		<description><![CDATA[
The venerable, self-proclaimed “un-artist” Allan Kaprow passed away last year and the art world hasn’t been able to let go. Just as history needs its stories, art needs its artifacts and though the “Happenings” Kaprow coined and created were meant to slip from gerund to past tense, posterity must have spooked Kaprow from his deathbed. [...]]]></description>
		<wfw:commentRss>http://artcriticism.sva.edu/degreecritical/?feed=rss2&amp;p=55</wfw:commentRss>
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		<title>Kent Henricksen at John Connelly Presents</title>
		<link>http://artcriticism.sva.edu/degreecritical/?p=52</link>
		<comments>http://artcriticism.sva.edu/degreecritical/?p=52#comments</comments>
		<pubDate>Tue, 18 Dec 2007 21:40:31 +0000</pubDate>
		<dc:creator>krooney</dc:creator>
		
		<category><![CDATA[Fall 2007]]></category>

		<category><![CDATA[art review]]></category>

		<category><![CDATA[John Connelly Presents]]></category>

		<category><![CDATA[Kara Rooney]]></category>

		<category><![CDATA[Kent Henricksen]]></category>

		<guid isPermaLink="false">http://artcriticism.sva.edu/degreecritical/?p=52</guid>
		<description><![CDATA[
History was suspended and irony reigned at Kent Henricksen’s second solo show at John Connelly Presents. Cherubs, angels and romantically etched figures floated and fell amongst a wall-papered background of peach and purple while nine large-scale paintings emerged from the Baroque patterned fields that lined the walls of the gallery. The result conjured a surrealistic [...]]]></description>
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