New York

Attila Richard Lukacs

Phyllis Kind Gallery

On the one hand, Attila Richard Lukacs’ exhibition of paintings and sculptures was about an ambivalent ideal of the gay male, both menacing tough and heroic martyr; beneath this politicized surface, however, it subliminally concerned something more interesting: human beings as robots, mechanically living and dying. The show was polarized between two works: Labors in Natural History (all works 1997), a wax body laid out on an anatomy table, its internal electrical circuits exposed and labeled—the corpse as machine—and The Fresh Air Front, a monumental painting of a group of sullen male figures, half- or completely nude, in an urban no-man’s-land. The young men are realistically modeled, but there is a kind of not-alive blankness to them; their lives have neither meaning nor purpose. Their opaque, insular glances convey this as much as the closed eyes of their dead fellow.

Lukacs’ figures

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