In my latest column at The L Magazine I don’t write about Dan Colen that much. Here’s an excerpt:
The art world’s most boring story this month is about how everyone hates Dan Colen. How his show at Gagosian sucks (it does); how his story is one of excess (both personal and professional: how he’s a reformed drug addict and his work is expensive); and how everyone begrudges having to talk about him because we all know the work isn’t worth it.
I’m not going to spend much time writing about Colen myself for precisely this reason. Colen’s ability to generate press has more to do with his reputation as a badass than artistic merit. You’ll reap no rewards for seeing this show. Let me spare readers the trouble of walking over to Chelsea: A giant brick wall, the first object viewers see, was inspired by a photograph of star Michael Jordan in front of a brick wall. It’s just a brick wall, and even if Colen had come up with a better explanation it would still only be a brick wall. Then there’s the line of motorcycles, which Colen toppled like dominos just before the show opened. Like every other work here, the bike pile is simply a gratuitous display of wealth. Add to this two skateboard ramps turned upside down to make an archway and a bunch of large abstract paintings, some made out of confetti, others out of gum, and all this work has going for it is that it’s big.
To read the full piece click here.