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REVIEW: E’wao Kagoshima | Algus Greenspon | ArtReview

E’wao Kagoshima, Monkey Smoking, 2007; image from Algus Greenspon

Is the difference between eclecticism and pastiche simply a function of framing?  When an artist works in many different styles, let alone mediums, and the results are gathered together in one place, the outcome we regard as a kind of willed eclecticism.  When those styles all appear in a single work, or when their allusions to other works of art, or artists’ styles, are so strong as to be quickly recognizable, it’s pastiche.  But what happens when the frame that keeps eclecticism distinct from pastiche begins to slip, when we find ourselves caught in the midst of a search (for a style) and a comment (on “style” itself) without knowing which is which, or even if the question itself is valid (after all, who would think to talk about “style” anymore)? Valid or not, it is a question that will confront any viewer of E’wao Kagoshima’s output since 1976, which is when the artist arrived in New York and began the various artistic campaigns that are well represented at Mitchell Algus’s (and business partner Amy Greenspon’s) newest enterprise…

Read the rest in the forthcoming April issue of ArtReview or on ArtReview Digital.

Written by Jonathan T. D. Neil

February 19th, 2011 at 5:23 pm