PRINT December 1999

Jan Avgikos

1. Cady Noland The Queen of Goth. Elegant, but with edge to spare. No one taps into the perversity of late-twentieth-century culture with such relish for the seamier side of “everyday life.” In Noland’s postapocalyptic cosmology, abjection registers on a sociological scale: The individual is but a symptom, a mass-market mirage. Referencing everything from white trash to the White House, her installations gather the wreckage of an American odyssey gone wrong, a macabre road trip motored by the death drive—in overdrive.

2. Hannah Wilke Another kind of spectacle, another kind of death. As a ’70s “babe” serving up alternative cheesecake, Wilke made critique while she made love to the camera, performing her complicity, her conflict, as an “object of desire”—that always was the issue. In the mid-’90s, she inaugurated a new body of work; it would be her last. A Medusa who knew that the sight of

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