Sunday, September 30, 2012
Wall Street. So it was fitting that the most incisive review of the show appeared in Bloomberg Businessweek where Lance Esplund opined, “I suggest you skip it. This cramped, predictable, ho-hum exhibition... is a celebration of the artist as opportunist.” Ouch. So how did postmodernism, a movement with roots in late Marxist critical theory, end up as the very thing it was supposed to critique?
The seemingly seamless seque from late Marxist postmodernism to "late capitalist" postmodernism is a long and sad story, but suffice it to say that not all postmodern artists obsessed with mass media so shamelessly sold out, and this Image Transfer expo at Newcomb is proof that they still exist. While all is not thrall-inducing, much of the work is interesting in the way any lost tribe's artifacts can be interesting. So here we have convoluted tropes like Karl Haendel's dazzling pencil drawings of Maltese Falcon stills and Man Ray photograms, below; or Sean Dack's neo-cubist digital images like Glitch Girl, left, or Sarah VanDerBeek's digital remixes of the work of great photographers from art history. Curated in Seattle, Image Transfer substitutes sobriety for flash but what it and the post-Warhol show at the Met have in common is a cutting edge sensibility—from 20 years ago. ~D. Eric Bookhardt
Image Transfer: Pictures in a Remix Culture: Group Exhibition Curated by Sara Krajewski, Through Oct. 15, Newcomb Art Gallery, Tulane University, 865-5328