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and-hair canine (Dog, 2007), Anna Thompson’s of faux naive art via Golub, Mamma Andersson
equally prostrate papier-mâché catfish (Big and, dare I say it, Darger.
Ol’ Catfish, 2007) and Brittany Janaszak’s
performative take on the plight of the albatross (10)
(2007). Given that the works I just listed Display, Museum 52
fell on both ends of the Northeastern seaboard,
it’s rather difficult to parse the ideological Display is the inaugural exhibition for
quirks of the respective institutions. If London’s Museum 52’s space in New York. The
anything, it seems a fondness for animals show brings some of its London stable as well
prevails: on the part of the artists, their as some additional local artists. It’s slightly
schools or perhaps just Mr Martinez. unclear how it examines modes of display,
although the first floor seems to investigate
(12) ways of mounting and hanging artworks. Sarah
Something for the Commute, Greenberg Rafferty’s photographs of souvenir
Brooklyn Fire Proof plates are stuck to a dark-purple velvet
support and seem to play around with notions
When I was a Yale undergrad, I elected myself of domestic marital trophies. George Henry
to notetaker and aspirant biographer of the Longly uses basic cuboid forms and rearranges
MFA graduates who walked in my midst and them. Philip Hausmeier’s Untitled (Cabinet)
occasionally talked to me, under the false (2007), a large rectangular sculpture made
supposition that I was one of the anointed from hundreds of shards of glass and steel, is
few. So it’s been with great interest that explosive and arresting, and contains multiple
I’ve followed MFA alumna Katy Lynn Porte’s readings, although its longer fascination is
recent curatorial programme at Brooklyn Fire found by the myriad plays of light that delight
Proof, as she gives exhibition opportunities the retina. It’s also perhaps the best cubist
to a number of notable (and sometimes funhouse mirror I’ve seen.
horrendously unappreciated) Yale artists. The
latest exhibition assembles work by Ethan (11)
Greenbaum, S.E. Nash and Karla Wozniak under KATRINA DAScHNER Fear Eat Soul Up,
the rubric of urban and digital commuting. Thrust Projects
There’s not much sense to the grouping,
particularly given that Wozniak’s For her first solo show in NYc, Katerina
straightforward approach to painting (she Daschner makes interesting use of embroidery.
paints on canvas) makes her the odd one out in In Nature, nature I’m your bride, take me as I
this otherwise highly inventive show. Nash’s am (all works 2006), delicate needlework
geopolitically charged displays, from Cruise reminiscent of home-sweet-home needlepoint
Poop to Palm Island (both 2007) extrude the kits is made to produce multilayered readings
type of brash, love-me-or-revile-me aesthetic of gender roles, with the inclusion of spurs,
that brings Elizabeth Murray to mind, and while a riding crop and a tie. According to the press
I usually opt for revilement, it’s not without release, this piece takes its cue from Virginia
Woolf’s Orlando (1928). In Harbor of Love
Daschner creates a sort of imaginary map out
of embroidery stuck to a raw canvas with a
video loop projected onto the surface. Running
on a one-minute loop, Naima and Naima uses
footage from a 1940s Egyptian movie starring
Naima Akef, who plays both the role of a
seductive belly dancer and a keen sailor. The
nicely rendered drawings of chicks with dicks,
freaky found personal photographs and other
stuff comes dangerously close to old-hat
gender-politic issues. While fairly aggressive
in promoting what seems to be the artist’s
personal agenda, the work is also compelling
by virtue of its ability to map out thought-
provoking connections with a capable
imagination. I don’t really like the show, but
I feel that I am not really meant to like it,
which is annoying.
(12)
EILEEN QuINLAN Photographs, Miguel Abreu
For her debut solo outing at Miguel Abreu,
Eileen Quinlan has created a very precise
programme that allows her to milk the formal
and conceptual enquiry set by the relatively
Reviews Marathon.indd 73 7/1/08 16:49:25
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