Los Angeles

Kenneth Shorr

Fahey/Klein Gallery

The problem with most so-called post-Modernist work is that it merely ends up stating the obvious, busily demythologizing spent dogma while remaining blind to its own hidden reifications. This is precisely the plight of Kenneth Shorr’s recent work—collectively titled “The Nostalgia of Meaning.” Here he seems to belatedly arrive at the by now commonly accepted notion that the artwork is a contingent text, the meaning of which is inherently deferred and incomplete, instead of using this perception as a starting point for a more penetrating self-critique.

Shorr explores the dialectic between the seeming objective referentiality of photography and the highly emotional subjectivity usually attributed to the medium of painting. Each canvas consists of heavily worked layers of gold, red, and purple pigment, in which biomorphic and torsolike forms float against more physically dynamic areas of

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