Los Angeles

Alexis Smith

Margo Leavin Gallery

American mythology is her targeted victim, and Alexis Smith is out to kick butt. From the clunky romantic language in which American hopes and dreams are characteristically writ, to the stereotypes citizens passively adopt as if they were a somnambulant army specializing in misguided love, the entire middle American vernacular is fair game. Smith gives voice to an array of the babbling, perenially cheerful found objects, from the goony dated ashtray and the swizzle stick, to the blown tire, and the forlorn last-place ribbon. Entitled “Eldorado (On the Road Part II),” this is the second installment of a Kerouac-fueled visual saga, but the existential optimism that animated On the Road, 1957, has wandered down an unanticipated byway. The result is an abbreviated, critical romanticism, that funnels Kerouac’s machozen talk into something ironic, punchy, and somehow androgynous.

In a two-panel

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