new-york

James White/Tim Sheward

Casey Kaplan

BRITISH DUO James White and Tim Sheward “embrace the delusion perpetuated by the worship of false icons.” In their ongoing project of simultaneously critiquing and reveling in manufactured pleasure, White and Sheward have poked fun at brand-name consumerism—the “worship” of products like the Nike and Adidas sneakers and workout clothes worn by the almost life-size bendable figures in the 1997 installation Plastic Picnic. Recently the artists have turned to the “false icons” of the tourism industry: In an exhibition in London last winter, they showed Untitled 7, 1999, a small palm tree sculpted from Blu-Tak, an adhesive used to hang posters, and Gift Shop, 1999, an irreverent miniature version of Le Corbusier's church at Ronchamp.

In “Paradise,” their second solo show in New York, White and Sheward focused exclusively on the palm tree, a dominant symbol in British tourism. The palm

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