new-york

Slater Bradley

Team / P. S. 1

The centerpiece of Slater Bradley’s second solo show in New York was a trio of short videos simultaneously projected on three walls of Team’s front room. The Laurel Tree (Beach), 2000, features actress Chloë Sevigny standing on an empty stretch of sand solemnly intoning a passage from Thomas Mann’s Tonio Kröger. The text—a lofty meditation on the sanctity of art and the sins of dilettantism—recounts a professional writer’s profound embarrassment during a lieutenant’s impromptu poetry recital at a dinner party. In Female Gargoyle, 2000, Mann’s army officer—the average man who rises from anonymity to seize his moment in the spotlight, with potentially disastrous results—is embodied by a tattooed redhead. Beneath a band at the top of the frame that proclaims Bradley’s tape to be an “amateur video,” the woman shows us her profile in the familiar pose of someone who is aware

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