New York

View of “Mark Leckey,” 2014.

View of “Mark Leckey,” 2014.

Mark Leckey

Gavin Brown's enterprise | 620 Greenwich Street

View of “Mark Leckey,” 2014.

The white cube. The black box. The green screen. Mark Leckey’s “A Month of Making” heralded the latest of these color-coded exhibition conventions. First the modern museum delimited the contemplation of painting and sculpture to supposedly neutral, blank-slate conditions; then it folded the filmic apparatus into darkened, immersive environments; now it furnishes backdrops for rehearsal and other modes of cultural labor once sequestered from public view. At Gavin Brown’s Enterprise, a green screen and a blue screen stood side by side, populated by assorted objects, such as a plaster cast of William Blake’s death mask; Richard Hamilton’s Diab DS - 101 Computer, 1985–89; and Herman Makkink’s cock-shaped Rocking Machine, 1969–79 (familiar to many as a prop from a grisly scene in Kubrick’s Clockwork Orange). Iterations of these objects kept reappearing elsewhere, as scaled-down facsimiles

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