new-york

Marcus Leatherdale

The Clocktower

We might say that Marcus Leatherdale’s problem, like Jimmy De Sana’s, is that he has allowed fashionable concerns to direct his work as an artist. But to say this is to turn a generously blind eye to useful distinctions. It is true that the press release for this show claims that Leatherdale’s photographs transcend fashion and ascend to the realm of art, but that is simply wishful thinking. They are nothing but fashion, and rather tired, overfamiliar-looking fashion at that.

There has always been an interesting interplay between art and fashion, each stealing and modifying ideas that originally developed in the other. There is often something fratricidal in the exchange, with each constituent apparently trying to smother its rival for attention; the resultant tension can be useful, but only when approached with wit. When the snap is gone we are usually left with empty-headed pretensions of

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