HereIn Journal: On J Noland
Noland’s work is playful and provocative, cerebral and scatological, and
generally licenses intoxication in one form or another. We are roughly
the same age and both hail from the Midwest, so I recognize the raw
material of his work: the bowling alleys, beer cans, bb guns, and
tailgates that comprised the requisite rites-of-passage for a white
midwestern male born in the 1980s. Noland does not mock these objects
and rituals so much as discover in them forms of misplaced yearning and
sublimated spirituality: Elmer Gantry on peyote hunting for sin and
salvation in the post-industrial Rust Belt. The folksy fun and games are
also totems of addiction, insecurity, toxicity, and despair. It is a
sort of via negativa—accessing the sacred through the crass
castoffs of middle Americana: a trash-littered path walked side-by-side
with intoxicated friends.
The rest of the essay here.