Nature Mode Gallery
If Levine’s work reflects on the melancholy residues of the past, Gretchen Bender’s suggests a detached and dispassionate glance which bears no allegiance to cultural memory. The images she annexes include those of contemporary artists which form the cultural currency of the immediate present; they are so of-the-moment as to incorporate, in the small Untitled, 1983, the poster that accompanied Keith Haring’s show concurrent with her own.
In this installation there was no painstaking craft, no framing or fetishization of the object. The images were produced by photomechanical or electronic techniques: rephotographed from magazines, processed through video technology, or silkscreened, they were mounted on sign tin and presented flush to the wall. The effect was almost as casual as that of the photo-assemblage one might find on a high school kid’s bedroom wall; in these juxtapositions of images
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