Critics’ Picks

Installation view, 2006.

Los Angeles

“Group Exhibition Organized by Clarissa Dalrymple”

Marc Selwyn Fine Art
9953 South Santa Monica Boulevard
January 27–March 2

While historians and institutions attempt to brand “appropriation art,” artists continue to generate referential and mimetic images that often occupy thornier places in art history. With the veneer of appropriation loosely guiding her, Clarissa Dalrymple has brought together six such artists. Featuring the pointed and political work of both young and veteran practitioners—from Sari Carel and Gardar Eide Einarsson to Joseph Kosuth—the show offers blunt commentary on a profuse visual culture and its mechanical reproduction. Craig Mulholland's reedited, reanimated and replicated pieces approach the latter idea quite literally. His anagrammatic Meeting Pop, 2005, a DVD loop that slices apart Peeping Tom, the 1960 British horror classic, is installed adjacent to etched aluminum plates and Giclée prints created from the video's stills. Also drawn from cinematic sources are Emily Sundblad's sketchy watercolor ”stills,“ Still from ”Tropical Malady,“ and Still from ”Opening Night" (both 2005–2006), which statically reproduce dislocated mise-en-scène from two very different films. Further loosening Dalrymple’s slackened narrative are several lithographs by Swedish artist and activist Sture Johannesson. Drafted in the late-'60s social climate, works like Andrée Will Take a Trip! Anything Which Can Be Done Chemically Can Be Done By Other Means , 1969—which lifts its theoretical tag line from McLuhan—utilize the graphic style of psychedelic concert posters to announce Konsthall happenings in revolutionary argot. Their strident colors and rebellious determination puts an anachronistic spin on Dalrymple's thesis.