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Now whether this ‘discourse problem’ is a real
problem for other artists may be debatable,
but there are certainly other examples of
artworks that manage to dodge it, and by other
means than the accidental autonomy of
Katchadourian’s balloon-lady video.
(6) In Jeremy Kost’s Another Morning After
(2007), a standout in Freight + Volume’s group
show rEAr/VIEW, we see, filmed from the back
seat of a nondescript car, a young woman who
looks suspiciously like Mena Suvari – it turns
out that it is – pull into a parking space in
some lA neighbourhood and then proceed to
apply, using the car’s rearview mirror, the
requisite makeup that even a moderately
fashionable young woman might ‘need’ before
presenting herself in public. on goes the
eyeliner, which is then promptly rubbed off
with a tissue; on goes the powder, and then it
too is wiped away; next comes eye shadow, then
off it goes; lash curler and mascara, futile;
lipstick, no good – at least not for the lips:
as a final act, our heroine rubs out the
rearview mirror with the lipstick and then
quickly exits the car.
Kitty. Thank God. And for the record, artists
like Hiroshi Nakamura and Tiger Tateishi
It’s painful, not the idea of so much nervous
engaged with illustration and cartoon decades
and apparently wasted energy, but to see
ago. Using the manga connection to justify
someone attack their own face over and over
work is now marketing bullshit.
again. It’s the physical abusiveness, the
rawness, that’s both difficult and utterly
Upstairs, Ashley Hope’s paintings based on
fascinating to watch, and it outruns any of
forensic photos of women murdered for the
the myriad theoretical (ie, discursive) issues
sexual thrill of offing someone reduce hideous
that may be brought to bear upon its
content to a happy marriage between Ted Bundy
assessment.
and Elizabeth Peyton. Violence is reduced to a
few visual ciphers: bloodstained panties,
In other words (and to use a popular bit of
blood splattering a woman’s face – no more
contemporary jargon), the affect of Kost’s
awful, in these bright compositions, than the
video renders paltry any talk of ‘the gaze’,
little bit of juice that seeps from a roast
‘narcissism’, the ‘fragmented’ or ‘split’
beef. Now that is an achievement. The purple
ruffle of a jacket rings the bared shoulders
of a corpse as if it had been carefully
arranged, not pulled down during a slaying.
Where Schiele, whom such passages reference,
captured the depth of erotic fixation, these
works fail to convey the things for which these
women were killed: passion and pleasure.
(10)
KoNrAd KlAPHEcK Paintings, Zwirner & Wirth

Klapheck’s lugubrious images of oversize
machines and swollen vacuum tubes, which the
artist has been painting since the late 1950s,
owe as much to Magritte as to the antiquated
typewriter he bought when he entered art school
in düsseldorf in 1955. Here four oval escutcheons
can stand for the artist’s My Four Little Vices
(1958), as the painting is titled, and pipes
subject, etc. There is certainly a place for
can be labelled Liberte, Amour, Art (1964).
this discourse, but it requires the velvet
bookends of history to keep it in check and to
More interesting than the surrealist influence
muffle its echoes in the present. Which is
is the question of what that outmoded typewriter
where (7) ErIc ANGlES and MATT SHErIdAN SMITH’s
might have meant to a young man in düsseldorf
two-person show at cohan and leslie comes in:
in 1955: a bit of nostalgia for the past? A
it self-consciously screams for discourse.
Reviews Marathon.indd 70 7/1/08 16:48:34
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