new-york

Jamisen Ogg

Hudson Franklin

The installation of Jamisen Ogg’s New York solo debut, titled “Conscientious Objectifier,” was not exactly bilaterally symmetrical, but each object installed on one side of the gallery had its corollary on the other. A quick glance suggested that the objects perfectly mirrored each other; a closer inspection revealed the tension between division and reconciliation that gave the show what conceptual force it possessed.

The reconciliation on offer was between two historically distinct utopian visions: on one hand, the sanitary spaces and clean lines of modernist architecture and design and, on the other, a messy counter-cultural spirit, here represented by tie-dye patterns. In one of two works titled False Sense of Sophistication, 2008, the brightly colored design, airbrushed onto canvas and paper by hand (rather than actually dyed), is overlaid with a black silhouette of a house by architect

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