new-york

Mark Flood, Billy, 1983, collage, 34 x 22".

Mark Flood

Luxembourg & Dayan | New York

Mark Flood, Billy, 1983, collage, 34 x 22".

Mark Flood’s exhibition “The Hateful Years,” curated by Alison Gingeras and surveying work from 1979 to ’89 (though including paintings from 2012), brought a materialist dialectic to lifestyle choices that refuse to distance themselves from decrepitude and degradation. The installation Punk Rock Crash Pad, 1979–86, covered the walls of the gallery’s attic in the black plastic of garbage and body bags; on the floor was a mattress, presumably occupied by a young rocker, a stand-in for the artist, who had been a member of the punk-noise band Culturecide. Flood’s piece replicates the narrative elements of the anti-depressing down-and-out parable, reversing each term and projection. Thesis and antithesis, an anti-antipsychotic.

Flood’s material is history itself, the glamour, sex, and rubbish of culture. His preposterously salacious collages of David Lee Roth (somehow he looks just

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