New York

Sean Landers

Andrea Rosen Gallery

Sean Landers makes art about the changeable fortunes of the artist’s life and oh! the Agony and the Irony. He can’t decide whether everyone hates him because he’s so avant-garde, à la van Gogh, or because he’s so popular, like Norman Rockwell. But Landers is more passé than réfusé at this point in his career, and his shtick hasn’t kept up. His sour meditations on success don’t grab like his earlier smirking but naked monologues on failure.

In these oil paintings (you’re meant to smell the authenticity) Landers sets cartoony hydra-headed dogs (Multi-Headed Mister, 1999) and breast-faced buds (The Right Stuff, 1999) against grounds filled with his trademark texts on self and career. In the press release, he claims Magritte as a model for working only to please oneself, nose-thumbing critical opinion, and Magritte seems to drive much of the imagery as well (e.g., Pipes, 1999). But Landers’s

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