new-york

Jimmy De Sana

Bonlow Gallery And Stefanotti Gallery

We all have to deal with conflicting pressures from time to time. Sometimes we go one way, sometimes another, but usually it is good to resist for a while, to allow ourselves the time to make a considered decision. Jimmy De Sana should definitely have resisted the pressure to paint, at least until he had a better idea of what it was all about. I know everyone is doing it these days, but that is a lame excuse. To succumb to that pressure, and to make the succumbing interesting to anybody else, one must have some idea of what such a surrender might mean, what it might accomplish. De Sana betrays no evidence of having given the matter any thought at all.

Which is odd, since his earlier photographic work demonstrates at least a certain understanding of submission. That work has a studied theatricality—the imaginative conjunctions of body parts and toilet furniture, the red glow that typically

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