New York

Seamus Harahan

Spencer Brownstone Gallery

Seamus Harahan’s large-scale, three-channel video projection Holylands, 2004, documents the street life of an urban community that looks as if it’s populated almost entirely by men and boys. By day, they hang out in groups or meander down the block drinking liquor out of bottles concealed in plastic bags; by night they commit petty crimes, such as vandalism, and possibly engage in more nefarious activities, furtively gathering around idling vans in a way that screams, “Drug deal in progress!” They roughhouse, amuse themselves with what’s at hand (which isn’t much—cardboard cartons, water escaping from an opened fire hydrant) and throw their arms around each other’s shoulders in the universal language of male bonding. Young or old, clad in the cheap windbreakers of the working stiff or the hoodies of the wannabe gangster, they display a nervous indolence that suggests stress, underemployment,

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