{"id":81931,"date":"2015-01-22T19:03:43","date_gmt":"2015-01-23T00:03:43","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=81931"},"modified":"2015-01-23T16:15:41","modified_gmt":"2015-01-23T21:15:41","slug":"crunchy-systems","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/01\/22\/crunchy-systems\/","title":{"rendered":"Crunchy Systems"},"content":{"rendered":"
\"unnamed\"<\/a>

Borna Sammak, Untitled<\/i>, 2015, heat applied T-shirt graphics and embroidery on canvas, 40″ x 30″. Courtesy of the artist, Marianne Boesky Gallery, New York and JTT, New York \u00a9 Borna Sammack<\/p><\/div>\n

Long before crunchy<\/em> found a thrilling new life as a pejorative for hippies<\/a>, the journalist Nico Colchester used it to describe a set of economic conditions: \u201cCrunchy systems,\u201d he wrote, \u201care those in which small changes have big effects leaving those affected by them in no doubt whether they are up or down, rich or broke, winning or losing, dead or alive \u2026 sogginess<\/em> is comfortable uncertainty.\u201d<\/p>\n

\u201cCrunchy<\/a>,\u201d a new group show at Marianne Boesky Gallery, takes its inspiration from Colchester\u2019s definition, though it owes just as much to the word\u2019s new, granola-centric connotation. Organized by Clayton Press and Gregory Linn, it collects essentially tactile paintings\u2014the hard, the crisp, the agreeably sharp. \u201cIt is about the materiality of material,\u201d they say, which sounds tautological until you look at the paintings, all of which induce various forms of synesthesia. You\u2019ll want to bite some of them. Don\u2019t\u2014don\u2018t make the same mistake I did. There are no flavors there.<\/p>\n

\u201cCrunchy\u201d is up through February 21. <\/p>\n

\"Install<\/a>

Anna Betbeze, Muff<\/i>, 2015, acid dyes, ash, wool, 61″ x 80″. Courtesy of the artist, Marianne Boesky Gallery, New York and Kate Werble Gallery, New York \u00a9 Anna Betbeze<\/p><\/div>\n

 <\/p>\n

\"AP_78134\"<\/a>

Anthony Pearson, Untitled (Plaster Positive)\u00a0<\/i>(detail), 2013, pigmented hydrocal in walnut frame, 43 1\/2″ x 31 1\/2″ x 3″. Courtesy of the artist and Marianne Boesky Gallery, New York \u00a9 Anthony Pearson<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Installation view (works by Heather Cook). Courtesy of Marianne Boesky Gallery, New York. Photo credit: Jason Wyche<\/p><\/div>\n

 <\/p>\n

\"CRN_100480\"<\/a>

Ethan Greenbaum, Post<\/i>, 2015, direct to substrate print on vacuum formed PETG and spray enamel, 41 3\/8″ x 48 1\/8″. Courtesy of the artist, Marianne Boesky Gallery, New York and KANSAS, New York \u00a9 Ethan Greenbaum<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"

Long before crunchy found a thrilling new life as a pejorative for hippies, the journalist Nico Colchester used it to describe a set of economic conditions: \u201cCrunchy systems,\u201d he wrote, \u201care those in which small changes have big effects leaving those affected by them in no doubt whether they are up or down, rich or […]<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2384],"tags":[16731,16732,35,16730,16728,16727,16726,16733,16729,16724,16725,4154],"class_list":["post-81931","post","type-post","status-publish","format-standard","hentry","category-look","tag-anna-betbeze","tag-anthony-pearson","tag-art","tag-borna-sammak","tag-clayton-press","tag-crunch","tag-crunchiness","tag-ethan-greenbaum","tag-gregory-linn","tag-marianne-boesky","tag-nico-colchester","tag-paintings"],"acf":[],"yoast_head":"\nPaintings That 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