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View of “Notes on Neo-Camp,” 2013.

“Notes on Neo-Camp”

Studio Voltaire

View of “Notes on Neo-Camp,” 2013.

Several of the works in the front room of “Notes on Neo-Camp,” curated by Chris Sharp, seemed to exemplify the ascendance of a newly contextualized, networked figuration in sculpture. The impassioned referentiality of the assemblage that makes up Tom Burr’s Fassbinder Piece, 2011—a green leather trench coat, a special issue of October devoted to the German director, and a poster for the film Kamikaze 1989 (starring Fassbinder and released in 1982, the year of his death)—resonated with that of Anthea Hamilton’s 2012 Venice Kimono across the room: a wide-sleeved, brightly colored costume hung cruciform on a steel rack, with a digital print of John Travolta’s familiar face on the back. Among the other pieces in the space were Paul Lee’s sparse Untitled (Purple), 2012, an off-kilter, decorative, shelflike structure made from small cut-up towels; Allison Katz’s Poires Noires

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