“Confusing signals, the impurity of the signal, gives you verisimilitude,” said Donald Barthelme of juxtaposition in his fiction, which he thought of as collage. “As when you attend a funeral and notice, against your will, that it’s being poorly done.” None of Dash Snow’s art in “Freeze Means Run” confuses or confounds. The signals are clearly drawn: angry or tender, political or familial, appropriated or documented. Snow’s work from 2000–2009his teenage polaroids are being considered with his “mature” work in multiple mediumsfalls squarely on an axis familiar to anyone who’s been a nihilistic teen with a preened-up death drive: portraits of us (our friends, our drugs, our material accoutrements) versus anti-propaganda effigies of them, the infrastructure that threatens us (the cops, our drugs, the president).
The show’s signalcall it a pulse, or an allegoryis
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