New York

Larry Clark

Luhring Augustine | Chelsea

When I walked into “punk Picasso,” Larry Clark’s first New York gallery exhibition in several years, I thought I had entered a Conceptual-art installation. Here were many juxtapositions of photos and texts, photos and photos, texts and texts, texts and heroin wrappers (the latter artfully arrayed à la Richard Tuttle), as well as related objects, e.g., Untitled (Severed head of ‘Vincent’ from Teenage Caveman), 2001. This surfeit of information—kind of like Hans Haacke’s, or Hanne Darboven’s, or Gerhard Richter’s, but not quite—transmitted an overriding impression that here was lots of important stuff to read and study.

It turns out, though, that this Conceptual-art “look” arose from the fact that the collages are page layouts for Clark’s limited-edition artist’s book, also titled punk Picasso. The gallery makes no secret of this, but as soon as one realizes it, the aesthetic value of the

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