New York

Kathe Burkhart

Feature Inc.

Like Sherrie Levine, Kathe Burkhart makes art that belongs to the discourse of the copy, as mediated by a disaffected feminist perspective. Unlike Levine, she uses sources that are not particularly august. The “Liz Taylor Series,” an ongoing project since 1983, presents images of the archetypal star, culled from film and publicity stills. Burkhart gravitates to those scenes depicting Liz in either wigged-out ecstasy or gut-wrenching humiliation. Using an opaque projector, the artist traces the lineaments of the original pictures on an often grand scale, then fills them in with lurid acrylic colors. Bits of contact paper, gold composition leaf, plastic, linoleum, and fake fur are often collaged into the compositions, heightening their already garishly aggressive effect. Each painting is emblazoned with an expletive or insult—e.g., “Brown Noser,” “Hole,” or “Fag Hag.” As Burkhart explains

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