teeming with maximalist sensuality


Bishton’s work effortlessly touches on a spectrum of theoretically unlikely bedfellows, from Process to Pointillism, from conceptualist serial photography to domestic relational performance. This last tradition — probably made most famous by Rirkrit Tiravanija’s career-making 1992 Thai-food cooking performance/installation Untitled (Free) — has particular currency due to its roots in feminist art, as currently on display in Connie Butler’s “WACK! Art and the Feminist Revolution” at MOCA. Works such as Martha Rosler’s 1975 video Semiotics of the Kitchen and Mierle Laderman Ukeles’ “Maintenance Art” writings and actions are only a couple of examples from a vast strata of work challenging the notion that the Muse doesn’t manifest herself in the mundane tasks of the domestic sphere.

But this tempting surface reading of Bishton’s subject matter doesn’t quite take. “It’s not necessarily about domestic activity per se,” insists the artist. “It is about activity, and it is about quotidian things.

more from the LA Weekly here.