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MINOR THREAT: THE ART OF CAMERON JAMIE

Cameron Jamie, Botanical Wounds, 2011, ink on paper, 12 3/4 × 9 3/4".

EVEN WITHIN an already markedly diverse oeuvre, Cameron Jamie’s recent work is initially difficult to place. Despite certain iconographic continuities—found most notably in Jamie’s primary leitmotif, the mask—his newly atmospheric pen-and-wash drawings, brightly colored ceramics, and intimate Xerox artists’ books appear to depart starkly from the documentary impulse behind his much-celebrated films. Highlights of his singular filmography include BB, 1998–2000, which captures the dangerous antics and assumed personae of suburban backyard wrestlers; Kranky Klaus, 2002–2003, which follows the elaborately costumed Christmastime devils of the Austrian Krampus festival; and Massage the History, 2007–2009, which portrays the idiosyncratic and highly sexualized form of living-room-furniture dancing developed by a group of young Alabama men (and which is, according to Harmony

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