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View of “Dougal McKenzie,” 2011. From left: Through the Fog of History, Stumbling Metaphors Loom (Portrait of Lasse Virén), 2009–11; The Temperature of Black (1972), 2011.

Dougal McKenzie

The Third Space Gallery

View of “Dougal McKenzie,” 2011. From left: Through the Fog of History, Stumbling Metaphors Loom (Portrait of Lasse Virén), 2009–11; The Temperature of Black (1972), 2011.

Dougal McKenzie’s exhibition “Hot and Cool” explored both the continued significance of painting in an era characterized by the proliferation of screen imagery and the potential of history as a subject for painting. These concerns are neither new nor particular to McKenzie, but the show was notably forceful in its assertion of painting as a narrative form and inventive in its incorporation of other media, including collage and assemblage. Although the gallery space was dominated by four large paintings (all oil on linen, two also incorporating collage) the first work encountered was Otl’s Gift, 2011. It consists of three elements, the first of which is a small circular linen canvas, bounded in dark brown and featuring octagonal forms rendered in dull yellow and brown, attached to a dress made from synthetic fabric printed with a brown-and-yellow geometric floral pattern. The other

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