Critics’ Picks

Marilyn Minter, Shy Shoes, 2005.

Marilyn Minter, Shy Shoes, 2005.

New York

“Bonds of Love”

John Connelly Presents
625 West 27th Street
August 19–September 24, 2005

Loosen those nipple clamps, kids; though this ambitious show curated by artist Lisa Kirk borrows its name from Jessica Benjamin’s feminist treatise on psychoanalysis and power, it’s perhaps best understood as a kind of institutional critique—an exhibition comprising female artists (and one F2M transgendered contributor) in a gallery known for hosting lots and lots of boys (cf. 2003’s summer show “Today’s Man”). Beyond that gesture, “Bonds of Love” is relatively un-programmatic in tackling issues of gender, sprawling across various media and three separate suites. Marilyn Minter’s vaguely dated-feeling but arresting photorealist painting of dirty feet in high heels faces off with a hilarious and mildly evil Josephine Meckseper shelf assemblage syncretizing fake jewels, photos of demonstrations and models, and a framed Viagra ad in which Bob Dole musters his storied heroism in the war on erectile dysfunction. Aleksandra Mir contributes four monochromatic “rockets” of stacked household products; the one in white and silver combines Hellmann’s mayo, baby formula, and Bedhead hair gel. These phalluses, as wobbly as Dole’s, rest without benefit of any fixative on a shelf in the gallery’s office, perilously close to gallerist Connelly’s head. A well-designed catalogue features texts by Lia Gangitano and Chris Kraus.