Relatively unknown in the United States, Edinburgh-based artist Keith Farquhar has been exhibiting cool, humorous, at times obliquely political drawings, paintings, and sculptures in Europe for nearly a decade. Deadpan figures made of clothing have lately become a signature form—blue jeans for legs, hooded shell jackets or sweatshirts for the upper body. Pinned against walls or other supports, the characters are draped and creased to give them slight but distinct expressions; but such “individuation” only makes them appear more generic, whether they’re alone or arrayed into ritualistic room-size tableaux. It’s a vision of post-individual malaise both comic and sinister, a Gap window display gone wrong.
Farquhar’s New York debut featured a big, brand-new installation as its centerpiece. Atomised (all works 2005), comprised a sixteen-foot-tall column of neatly folded white sweatshirts surrounded
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