dallas

Bill Davenport

Angstrom Gallery

The eighteen small works in Bill Davenport’s latest show ranged from boyish sight gags like Bummer, 1999, an enameled bean can and golf ball arranged to suggest a missed putt, to the inscrutable fluff of Pair of Lint Sculptures, 1998, in which a couple of fat, ill-formed pancakes made from the detritus of a clothes dryer are displayed with absurd care on a neat little white shelf. The tension between slick gallery presentation and deliberate craftlessness was a constant in the show, as was the impression that one had entered a realm of flattened hierarchies where transgression against conventional ideas of significance was a given.

When they aren’t punch lines, Davenport’s titles are frequently deadpan descriptions, as in the lint sculptures and GO Mitten, 1998, a child-size pink mitten that bears the eponymous command stitched in green yarn across its palm. Presented upright and palm

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