new-york

Max Frazee

Susan Schreiber Gallery

Part of the calculated dementedness of the antisitcom Married with Children is the star family’s surname, the same as that of notorious serial killer Ted Bundy. What its black humor insinuates is that if psychotic derangement might leave a long and bloody trail of carnage, worse horrors fester within the cocoon of familial normalcy. In stark contrast, Maxx Frazee’s installation, called “Epitaph for Ted,” bluntly exploits Bundy as a reified cult object but offers no such insights.

The mainstay of the exhibit is a series of pastels on Epsom board. These share a common design motif which has no clear connection to the Bundy case: a white ring superimposed over a bold, inverted green V on black. Frazee uses this graphic motif as a background on which to write facts and quotations. Stripped and Left for Predators, 1987–89, features a litany of victims’ first names and what are presumably notebook

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