new-york

Joseph Nechvatal

Brooke Alexander

In a manic proliferation of communication, Joseph Nechvatal’s overmediated language streams across the viewer’s info-fried consciousness as a miasma of fuzzy, fleeting, and overlapping images. The result is something like receiving television signals from several stations and data banks simultaneously on a single screen and trying to read the tangled web of electronic blips and blobs for whatever subliminal truths can be found there. One way to look at Nechvatal’s development since his first shows in alternative spaces in 1979 would be in terms of the various media with which he has chosen to work, making major shifts in presentation without markedly altering his art’s complex graphic structure (which is based primarily on telecommunications and its technology). However, the succession of pencil drawing, photocopying, photography, rephotography, sculpture, and computer-assisted painting

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