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

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