new-york

Laurie Anderson

Holly Solomon Gallery

After Freud it may sometimes seem that a man dreams primarily so that his dreams may be interpreted; objects and events in dreams exist or happen only symbolically, to be decoded into needs and desires. Laurie Anderson’s “dreams” in the installation Dark Dogs, American Dreams subvert such a rudimentary appropriation of Freud, their context and “meaning” skewed, premised on an elaborate pun. If the “dark dogs” part of her piece offers tribute to Freud, then the “American Dreams” part also pays homage to Horatio Alger and media contributions to (or transformations of) that vision. Finally, however, all of these larger “meanings” seem more the products of viewer expectation than artistic intention. No simplified methodology will really do—yet it all seems so carefully planned.

Twelve large black-and-white photo-portraits, apparitionlike, are identified by profession, such as “Dentist,” “

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