• View of “Mark Leckey: The Universal Addressability of Dumb Things,” 2013. Photo: Andy Keate.

    Mark Leckey

    The Bluecoat

    WE DON'T NEED GOOGLE GLASS to remind us that Max Weber’s diagnosis of the modern age as charcterized by the “disenchantment of the world” no longer holds true. One refreshing feature of the show recently curated at Bluecoat by artist Mark Leckey was his attention, precisely, to enchantment: to a dialectical understanding of the Enlightenment’s legacy, which allowed him to relate technological advances to older lineages of emotion and desire, rationality to irrationality. As Leckey says in the wall text at the exhibition’s entrance, “As it seems to me, the further technology evolves the more our

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  • Sylvia Sleigh, David Bourdon, 1969, oil on canvas, 30 x 21".

    Sylvia Sleigh

    Tate Liverpool

    The salon-style hang accorded the paintings displayed on the green walls in the single large gallery that housed Sylvia Sleigh’s recent retrospective at Tate Liverpool may have given the impression of an oldfashioned sort of exhibition, particularly since her works are figurative, often portraits. But the cozy hang belied the artist’s progressive attitude, which immediately became apparent upon closer inspection. Dead center on the main wall were two life-size portraits of Philip Golub, a young, lean man with long, curly hair—one showing him dressed and the other naked. Sleigh, who died in

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