This page contains a Flash digital edition of a book.
folk; there’s no denying that they know how to (20)
draw. Still, technique alone cannot justify MarC SeGuin Dissidence, envoy
the Peter Pan syndrome that continues to sweep
pockets of the secular world: boys, it’s time Canadian Marc Séguin’s large-scale, spare,
to grow up. mainly black-and-white representational
paintings deal with a range of themes (speed,
commodities, the abject, the modern world,
surveillance) and come across angsty and, at
best, like cool skateboard graphics. four of
the six paintings feature a hooded skater
figure (i suspect it’s the artist) cast in
various ‘meaningful’ tableaux. in Untitled
(Endangered Species) (all works 2007), the
hooded figure has his back to us and is pissing
out colourful (the rest of the world is in
gloomy black and white) sturgeon and turtles,
which are – you guessed it! – endangered
species. in Untitled (Atheist), the hooded man
is kneeling in front of a surveillance camera
and has blood coming out of a stigmata. i’m not
sure i’ve ever seen a more literal depiction
of that Michael Jackson song that goes, ‘i
always feel like somebody’s watching me…’
(21)
andrew Kuo What Me Worry, 33 Bond
33 Bond isn’t really the leS, but it was
included on the boundleS flyer, so i guess it
counts. apparently andrew Kuo suffers from
panic disorder, neurosis and anxiety, and makes
charts, collages, drawings, paintings and
sculptures to help himself deal with it. this
can be seen in the minimalist, brightly coloured
sculptures in which he has assigned each piece
(23) a colour that corresponds to some type of
Stefan Sehler New Paintings, music, anxiety or list of uncomfortable
Parker’s Box activities. in Rock Right Now (all works 2007),
Kuo has made a kind of sculpture bar-chart and
Yes, yes, Stefan Sehler’s process (painting assigned colours to his present ordering of
onto the reverse side of Plexiglas) has favourite rock bands: the tallest being animal
interesting conceptual ramifications; yes, Collective (pink); the shortest being deerhunter
yes, his choice to depict banal subject-matter (yellow). other works use this same organising
like flowers and landscapes does necessarily principle of daily concerns and personal angst
lead a contemporary spectator to focus on the to form colour-field-type abstractions – My
painted surface, not the painted content; and Life Up Until November or My Favorite Places
yes, yes, these paintings exhibit considerable as of November.
technical versatility. all well and fine. Yet
these aforementioned points (even when executed (22)
by a slightly more interesting artist like ann SCott taYlor Eve’s Law, V&a Gallery
Craven) somehow always have a way of leaving
me colder than cold. for the current show, Scott taylor expounds on
his ongoing series of imaginary portraits using
(24) eve as a universal standard for the female art
rindfleiSCh/raPediuS Monte Vera, object. taylor’s palette and brushwork are
Klaus von nichtssagend Gallery reminiscent of artists as diverse as frank
auerbach, George Condo, european primitivists
Precocious gallery Klaus von nichtssagend and Paul McCarthy. in Sideface (all works 2007)
periodically mounts shows that put much of the we see a grotesque eve made by pushing and
Manhattan scene to shame. So it was with pulling the paint around in frenetic gestures
rindfleisch/rapedius’s second solo outing at until something of a recognisable visage appears.
the gallery, where a recent sojourn in argentina Eve as Dora, which uses the same limited palette
provided fodder for a small series of objects, of greens as Sideface, clearly references
drawings and photographs. the artists’ Picasso. My favourite of the group, Mr. FF2,
sensitivity to materials had the overall effect is a kind of old Master-style portrait infused
of trapping their works in an ambiguous state with a dose of linear painterly excess.
between illustration and outright abstraction
Reviews Marathon.indd 83 7/1/08 16:51:43
Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64  |  Page 65  |  Page 66  |  Page 67  |  Page 68  |  Page 69  |  Page 70  |  Page 71  |  Page 72  |  Page 73  |  Page 74  |  Page 75  |  Page 76  |  Page 77  |  Page 78  |  Page 79  |  Page 80  |  Page 81  |  Page 82  |  Page 83  |  Page 84  |  Page 85  |  Page 86  |  Page 87  |  Page 88  |  Page 89  |  Page 90  |  Page 91  |  Page 92  |  Page 93  |  Page 94  |  Page 95  |  Page 96  |  Page 97  |  Page 98  |  Page 99  |  Page 100  |  Page 101  |  Page 102  |  Page 103  |  Page 104  |  Page 105  |  Page 106  |  Page 107  |  Page 108  |  Page 109  |  Page 110  |  Page 111  |  Page 112  |  Page 113  |  Page 114  |  Page 115  |  Page 116  |  Page 117  |  Page 118  |  Page 119  |  Page 120  |  Page 121  |  Page 122  |  Page 123  |  Page 124  |  Page 125  |  Page 126  |  Page 127  |  Page 128  |  Page 129  |  Page 130  |  Page 131  |  Page 132  |  Page 133  |  Page 134  |  Page 135  |  Page 136  |  Page 137  |  Page 138  |  Page 139  |  Page 140  |  Page 141  |  Page 142
Produced with Yudu - www.yudu.com