Robert Boyd: Xanadu
On view at Participant, Inc. through May 14.

by Mikal Saint George

Apocalypse – though definitely not inevitable – does have an alarming number of proponents. They wear many costumes. Robes and turbans - sometimes even the blue of Nostradomasus’ now famous vision. Some are military uniforms displaying a kind of haute couture chic reminiscent of Mugler at his fabulous ’80s zenith. Most chillingly they are often Hugo Boss suits and more and more -- Levis in the suburbs. In Robert Boyd’s XANADU we are reminded that atrocity happens not with random acts of disorder but with the agreement of many and the willingness of not only the aggressor but to a weird degree- the victim. Savior is easy, almost cheap. But destruction is so much darned fun – not to mention profitable. Keep in mind death will most likely come on a dance floor.

The Dystopia of Decadence
Camille Rose Garcia’s Subterranean Death Clash

by Lauren Cerand

Upon entering the Jonathan LeVine Gallery, the first thing one encounters in Camille Rose Garcia’s Subterranean Death Clash exhibition is a glamorous but forlorn squid, who, despite being liberally made up with black glitter (or perhaps because of it), is being picked apart (or about to be) by a half-dozen shimmering crows. Similarly open-ended questions and a cogent sense of ever-present unease permeate the rest of the mixed media compositions and works on paper that make up a very coherent show.

Jeff Soto: Supernova
by Mikal Saint George

Forget Astor Place, Vinegar Hill or Smith Street. Without doubt the hottest real estate on the market exists in the fertile confines of Jeff Soto’s mind. An Orwellian wonderland landscaped by Dr. Suess, decorated by Maurice Sendak and packaged by Sid and Marty Krofft. Fuck Gwathmey and their undulating curtain of glass.

This artist puts himself into his work even more so than would be expected. The feeling is cathartic for the viewer because there is an underlying understanding that the creative process has been cathartic for Soto. For a few moments, past, present and future are merged to form another reality. In creating this alternative universe Soto invites us to explore our personal journeys and bleed them into his own.

Swoon, Quite Rightly
by Lauren Cerand

For the careful urban observer, Swoon’s paper cutouts are a familiar sight on the streets of New York. Open up a certain kind of vaguely hip publication these days (e.g. Street Logos, VERY New York, Clamor) and her work is almost invariably mentioned. An outsider artist of a different sort, Swoon turned to the street several years ago to explore a means of expression beyond the cloistered gallery environment so typical of the New York art world. After gaining a following so dedicated that she has her own fan fotolog, Swoon has brought an expanded vision of her magical world indoors for a solo exhibition at Deitch Projects.

Illegal To See:
A Portrait Of Hustler Culture By Amos Badertscher

Leslie-Lohman Gallery
March 15th - April 23rd, 2005

by Dennis Spafford

A monk asked Kegon, "How does an enlightened one return to the ordinary world?" Kegon replied, "A broken mirror never reflects again; fallen flowers never go back to the old branches."

-Zen Koan

Perhaps this Zen Koan used for meditation will make more sense after you see the Amos Badertscher exhibition which is currently being shown at the Leslie-Lohman Gallery in Manhattan. With terrible accuracy, Amos Badertscher succeeds in conveying one of the saddest realities in our society and enables us to experience a unique brand of compassion.

Peter Hujar: NIGHT

Matthew Marks Gallery
January 15th - March 5th, 2005

By Dennis Spafford

On tall, plain, crisp, white walls in Chelsea, hang the photographic memoirs of Peter Hujar. These forty-three images, many of which are being shown for the first time, offer all of us a more intimate view of who Peter Hujar was and what he saw through the lense of his camera. In contrast to the space in which these pictures are being exhibited, Hujar’s pictures are far from innocent and new. The images he captures all portray an overwhelming sadness, doused with urban and social decay, that leave an almost tangible feeling of despair. Also in this exhibition we are introduced to Hujar’s experiments with perception and how that influenced his objectivity, but also the viewers as well.

Harold's End

Teenage Prostitutes, Codependency and a snail named 'Harold' by Liberation Iannillo

On November 13th, Deitch Gallery celebrated the upcoming release of J.T. LeRoy’s latest novella, Harold’s End, with The Origins Of Harold. This new exhibit, which includes pieces by Lou Reed, Herman Bas and the book’s illustrator Cherry Hood, is inspired by the writing of J.T. LeRoy. The soft-spoken LeRoy attended the opening wearing one of his trademark Cindy Sherman-esque disguises - a disheveled platinum wig, dark sunglasses and bright red lips. Following the opening was a performance by J.T.’s band, Thistle, and a reading of LeRoy’s work. Lending their voices for the evening were J.T.'s usual celeb-endorsers including Tatum O’Neil, Susan Dey, Thora Birch and Shirley Manson of Garbage who wrote the song ‘Cherry Lips’ about the androgynous LeRoy.