Vince Leo

  • JoAnn Verburg

    No matter how intimate the setting or how relaxed the subject, JoAnn Verburg takes pictures of her husband Jim Moore as if she didn’t want to be caught looking. If Verburg isn’t photographing him while he’s asleep, lost behind a newspaper, or watching TV, she’s partially concealed the camera behind a plant or a table. The variable focus, multiple views, and multiple prints of the same view only increase the almost obsessive quality of the work. Moore plays along, acting as if Verburg’s massive five-by-seven view camera were recording him from another dimension. Together they’ve created hundreds

  • “I Wuv You”

    From Murphy Brown to Dan Quayle, from Daniel P. Moynihan to the Urban League, everyone who’s anyone has their own righteous representation of “the family.” The radical right appropriates the family to serve as the symbolic bedrock of Western civilization; the radical left analyzes it as the penultimate text of social dysfunction. Not a lot to choose from for most families (no matter their configuration), who are too busy keeping track of grocery bills to spend a lot of time thinking about how much damage this burden of representation is wreaking on their everyday lives.

    “I Wuv You” is one family’s

  • Stuart Mead

    One of the most memorable paintings in this exhibition depicts a vaudeville strip show from the perspective of someone standing backstage right: you see the stripper from behind, and by gazing past her you can look at the audience as well. In the foreground there’s a clown with a big smile on his face trying to introduce a goofy note into what he understands is a complicated but undeniably male exercise in sexual power. His face recalls faces seen in rush hour traffic, at panel discussions, on TV: a face that’s been caught looking but doesn’t want to stop, that mirrors a soul lost somewhere