'The Unwinding' Article - PDP

As a part of developing my academic skills and the language critics use in the form of analyzing artwork, it was requested of me to read an called based on an exhibition called 'The Unwinding'  in Cookie Butcher, Antwerp and written by Sam Steverlynck - 22 November - 1 February 2015. My focus was to highlight key factors such as theme, inspiration, contrasts and symulaites between artists and artwork, but when it comes to joint exhibitions it is important that it flows and the artwork has harmonious links or reflects one another. 

First of all the reviewer, decides how the location of the exhibition reflects the the narrative of the theme and could of been purposely chosen to create empathize within the locals, as Antwerp's distant past use to be a Jewish community and as change for what the theme decides as for worst - illustrating decay and the state of being abandoned.  He then decides what are the inspiration such as George Packer's nonfiction book The Unwinding and how the group choose the title for the show which created more attention towards the meaning of the word unwinding, meaning undoing or undone. The rest of the article was Stevelynck deciding the works and using them to give evidence towards the theme and how it relates, reflects and comparing artists approaches and the differences from the use of media compared to history's use, which supported the narrative of the show.

The show was produced by artists Virginia Overton, Charles Harlans and Michael Smith whom refereed to Post-minimalism parasites, using found Industrial looking objects.  The theme was based around the decline of the American dream such as wealth and a great economy, looking at how degrading is felt within the younger generation because of the culture we have now, were there ambitions will not eased over the older generations (an interpretation). The works echos this point towards the economy, realization and artwork itself, with the use of cheap industrial objects used for media clarifying the difference between histories rich and now or what is seen as great groundbreaking works and the works shown he. 

Charles Harlan,Concrete, 2014

But what makes an groundbreaking work? Is it the scale or the type of media? Or just simply the fact it is attention seeking and enticing us to see the work? 

Publicity and Reaction; for reason that it may be seen as bad making it so good.