dallas

Ted Kincaid

Barry Whistler Gallery

THE PERMUTATIONS OF COLOR and image in Ted Kincaid's photogravures raise, and politely refuse to answer, some heavy questions about modernist seriality and the identity of an individual artwork. I'd be tempted to say that Kincaid's works calculate a post-Warholian logic of pluralized identities and sameness beneath their surfaces, except that it's nearly impossible to think that there is anything behind the ink on the paper: Like shadows, the gravures live only on the surface, which is appropriate given the light-based chemistry of the photo-intaglio process.

And although photographic and printing technologies are commonly associated with multiples, each of the twenty-eight gravures recently on view (all Untitled, 1999 or 2000) was unique, if closely related to the rest in iconography and format. The photogravure technique contributes to a certain old-fashioned flavor, but the abstract

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