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kick their way through a mishmash of retro (6)
collages. There was even a Cecily Brown Do Ho SuH Part Two: Reflection,
animation from 1995 – her only to date – lehmann maupin
comprising rotoscoped porn footage, though its
explicitness was a bit of a bummer, in that it although this two-venue show is partly
deprived me of that voyeuristic kick I get contingent on Cause and Effect, on view at the
from looking at her canvases and trying to gallery’s Chelsea space, it’s perfectly
separate sensual painting from painted acceptable to appreciate Reflection as a solo
sensuality. The only other nagging concern presentation. Comprising an ornate double gate
this otherwise excellent exhibition presented fashioned from steel tubing and blue translucent
was the number of artists situated mainly nylon, the work hovers miraculously in the
within the artworld – many of whom have gallery’s double-height main exhibition space.
representation at top Chelsea galleries. Were If this no-nonsense show seems ghostly or
there to be a second chapter to this exhibition, otherworldly, that is in keeping with the
it would be interesting to see how these works artist’s expression of residual memories:
dialogue with those of contemporary animators shapeless, foggy, elusive, intangible things.
not associated with the art industry. If one is to simply appreciate the work on its
own terms without searching for justification,
(9) there are many rewards to be had. looking at
Jeppe HeIn Illusion, SculptureCenter the work from the second-level viewing deck is
a spectacular experience wherein the illusion
of the gate being reflected, as if floating on
a clear surface of water, is completed and
made all the more sweet by the knowledge that
it will be gone shortly.
(7)
Phantoms, luxe Gallery
It’s always amusing to bang on a gallery door
phenomenology so often enters artmaking as 10 minutes after they’ve closed and ask to be
manipulations of matter and scale that bully allowed in, especially when they’ve just
viewers into false states of sublimity. Walking switched off all of the projections. according
into Hein’s solo exhibition at SculptureCenter, to the poetic press release, written by Heather
I expected as much – I mean, this is an artist Bennett, one of the four artists included:
whose primary media include fire and water. ‘Phantoms calls up shadowy intangibles, dusky
But I have to say, 360˚ Illusion (2007) didn’t opacities shrouding a hovering yet vacated
have any of the scenery-wrecking testosterone presence, stealing away on a foggy midnight in
of the Dane’s past works; rather, his two a muddied white dressing gown without a trace’.
massive mirrored panels simply and impassively nice writing! But perhaps a stretch in terms
rotated, trapping viewer, gallery et al. in of talking about her own work, Sonhouse (2006),
insidious optical terrain. a large noirish iris print depicting a man and
modelesque woman gazing anxiously out of the
(10) back window of a fancy car – calling more to
WIllIam mCmIllIn Yes, Yes, Repetti mind an outtake from an advertising shoot than
‘shadowy intangibles’. Dominik lejman’s Diorama
never mind that I accidentally went to see (2007) is a fascinating bit of video-painting;
William mcmillin’s exhibition on a day the in one section of the canvas is a projected
gallery wasn’t open, or that the person who video loop of flamingos, whereas in the top
Reviews Marathon.indd 69 7/1/08 16:48:18
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