new-york

Brenda Zlamany

E.M. Donahue

Brenda Zlamany’s works depict the bodies and parts of bodies of slaughtered animals, of human cadavers, and, for the first time, quite living friends. Isolating each represented object in a dark, glassy, anonymous space that, in its reflectiveness suggests a mirror more than a window, her representational technique vaguely recalls that of certain 17th-century Dutch still-life painters who managed to combine austerity with opulence. Her forms emerge not only as delicately yet richly colored, but as highly tactile and quite material. This tactility is particularly effective in a portrait of Bill Arning, entitled Bill, 1992, in which the subject’s dark hair can only be separated from the background by its texture. Zlamany’s tour-de-force, Dogfish, 1992, depicts a pair of five-foot-long sharks whose skin—a flickering interplay of evanescent colors emerging from and submerged in a mineral

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the PRINT EDITION of the February 1993 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.