• Mark Dean, Christian Disco (Terminator), 2010, still from a color video, asynchronous loop.

    Mark Dean


    The phrase “Christian disco” might trigger cringe-making thoughts of buttoned-up adolescent parties monitored by censorious adults and lubricated with fizzy drinks and Cliff Richard hits; but that scenario couldn’t be further from Mark Dean’s grimly impressive video installation Christian Disco (Terminator), 2010. Crafted from a three-second fragment of the 1984 film The Terminator, it shows a young man and woman dancing in a disco, but, characteristically, Dean’s edit desynchronizes and loops the footage, distorting its colors and corrupting the outlines of the swaying bodies. Luridly hued

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  • Phoebe Unwin, Swimmer, 2010, acrylic, pastel, and pastel ground on canvas, 67 x 47 1/2".

    Phoebe Unwin

    Wilkinson Gallery

    Something has been happening in the painting departments of London’s art schools in recent years. The Royal College of Art, Slade School of Fine Art, Goldsmiths, and the Royal Academy of Arts have all turned out young painters who have rapidly ascended into the city’s best contemporary galleries and collections. While it seems harsh to be so reductive, there is a common thread many of them share: a semi-naive, figurative approach that pays homage to Guston and early Picasso, often offering Dana Schutz a deferential nod too. The trouble is, not all of the members of this new “London School” are

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