new-york

David Altmejd

Andrea Rosen Gallery

Opulent, complex, and evocatively incongruous, David Altmejd’s sculptural scenarios have, in a relatively short time, insinuated themselves into the contemporary art world’s collective consciousness. Of course, his idiosyncratic formal vocabulary—quasi-modernist display environments sexed up with mirrored surfaces, theatrical lighting, and costume jewelry, all orchestrated to create sprawling disco sarcophagi for broken werewolf corpses—is already a riot of psychological tropes. Death and desire, the self and the other, decay and transformation: All are explicit in the forms and contexts of Altmejd’s gorgeous grotesqueries.

For viewers who first encountered the artist’s work in group shows like “demon- clownmonkey” at Artists Space in 2002 or last year’s “Scream” at Anton Kern Gallery, Altmejd’s first solo appearance at Andrea Rosen provided a fuller overview of his themes, as well as some

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