chicago

Nate Young, Interment, 2017, gold leaf, walnut, Plexiglas, horse bone, spray paint, LED, 28 1/2 × 16 × 6".

Nate Young

moniquemeloche

Nate Young, Interment, 2017, gold leaf, walnut, Plexiglas, horse bone, spray paint, LED, 28 1/2 × 16 × 6".

Vestigial representations of the occult were harnessed in “Cleromancy,” Nate Young’s exhibition of six works from the past year that obliquely layered a range of personal and political histories, touching on subjects such as black jockeys, the Great Migration, divining, and family mythology. Densely distributing the works on three walls of the light-filled gallery, Young invoked a symmetrical, chapel-like display punctuated at the end wall with Untitled, a two-part piece. Composed of a single horse bone mounted on a walnut pedestal in front of an illusionistic graphic depiction of a similar equine bone, the work offered the coupling of object and image as a means to deliberate on the authority of the real and the magic of illusion. The drawing of the horse bone floats in a nondescript white ground, half obscured by a smoky cloud of smudged graphite. The verisimilitude of the

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