Daniel Birnbaum

  • Kerri Scharlin

    Having grown up chubby and misunderstood in Miami, Kerri Scharlin now takes her revenge. What she wants are portraits of herself, and plenty of them. Her interest in the images other people have of her seems boundless. She has used these often conflicting representations in a number of projects, and mounted a show in which her own contribution is rather passive, presenting what other people have achieved: images of Kerri.

    Scharlin has reduced herself to an object that can be rendered in various media by other people. In clay, in words, or in images—it doesn’t matter as long as the object remains

  • Dinos & Jake Chapman

    The analogy between the nose and the male sexual organ is a recurrent theme in Sigmund Freud’s correspondences with Wilhelm Fliess, the author of a treatise on bisexuality and nasal mucous membranes. According to Fliess, the nose, whose cavities are lined with hair similar to pubic hair, had not received adequate attention from psychoanalysis: “The nose is an unsolved mystery of medical science!”

    As if taking up this challenge, Dinos & Jake Chapman, the British masters of the grotesque, carry the psychoanalytic speculation of Dr. Fliess to its extreme in each of the five Fuck Faces (all 1995).

  • Leonard Forslund

    The art of Leonard Forslund is characterized by its extreme matter-of-factness. Objects are dryly, dispassionately rendered, banal in their everydayness: a soccer ball, a sofa, a rope ladder, a heater, a chair, a shower stall. Taken out of their ordinary contexts, these things appear with a new, obtrusive distinctness though they are not physically present and remain flat images on a canvas.

    The six paintings that comprised his most recent show are characterized by a dry grayness, the color of complete boredom. On closer inspection, however, the surfaces show signs of life—vaguely shimmering