“There is a feeling of something untethered to aesthetic values such as we know them, things like good taste,” the painter David Salle told me. Supporters of the work see it as a melancholy commentary on a lonely, mutually enslaved machine future, and a reflection of the caustic cruelty of humans. The Stedelijk Museum, in Amsterdam, presented a two-part Wolfson retrospective in 20 next year, he’ll take over the Kunsthaus Bregenz, the most important contemporary-art museum in Austria. Wolfson’s work is owned by cultural institutions and private collections throughout the United States, Europe, and Asia. The only way to know you’re succeeding is if people are upset.” The outraged responses, he says, are a dimension of the art. The work manipulates me, so I’m being triggered. “If you’re annoyed, you’re not indifferent. “Annoyingness is an interesting strategy in art-making,” David Zwirner told me. Wolfson, who moves between New York and Los Angeles, has succeeded in creating event art that people, many of whom don’t typically go to galleries, line up to see. One Frieze editor said, “The politics were all wrong, yet no one could look away.” Did the piece express misogyny, or a criticism of it? Homophobia? A veiled confession? It was impossible to say for sure Wolfson’s medium is plausible deniability. While it vogues and twerks, a tiny camera hidden behind the mask, equipped with facial-recognition software, allows the figure to lock eyes with the spectator and, via the mirror, with itself. After delivering a monologue-“I’m gay / I’d like to be a poet”-spoken by Wolfson, who is straight, the figure, which is transfixed through the diaphragm by a metal pole connected to a mirror, begins to dance. “Female Figure,” which débuted at David Zwirner’s New York gallery in 2014, is a silicone-skinned simulacrum of a woman, besmirched with dirt, in a platinum-blond wig, a white stripper outfit, and a beaky green-black witch mask. Like memes turned loose from the laboratory of the Internet, they engage with the audience in unsettling ways, delivering contradictory and controversial messages. His creations are uncanny, mashed-up not-quite-humans, which perform “scenes” and deliver lines that Wolfson writes, often accompanied by a pop-music score. Wolfson is best known for the interactive animatronic pieces that he makes in collaboration with a Hollywood creature-effects studio in Glendale, California.
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The editors, somewhat reluctantly, also discussed Jordan Wolfson, a thirty-nine-year-old sculptor whose work is emblematic of a chaotic, maddening, fearful time. The list included O.W.A.s, or Older Women Artists, recognized after years of neglect it had Njideka Akunyili Crosby, an artist of the African diaspora, and Olafur Eliasson, who heralded the rise of immersive works conducive to selfies. In a recent Frieze article, the editors, trying to decide on the most important artist of the past decade, tossed around a number of names. Heath definitely likes to be the very best in everything he does so we're sure he's not going to fade away anytime soon.This content can also be viewed on the site it originates from. So what can we say about Heath? A whole hell of a lot actually! He's a true renaissance man and we're glad to see him doing something he loves. The two recently participated in the AIDS Walk in Chicago where Heath lives when not on location. Jordan shows that behind that tough guy façade is a heart of gold.
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