Volume 79 of the influential international art journal "Parkett"
features Jon Kessler, Marilyn Minter and Albert Oehlen. In the
tinkered gadgetry of Kessler's retro sci-fi installations, we peek
through surveillance cameras to see our own image among his analog
programs crammed with detritus of all kinds. Kessler's vista of
(d)evolved cyberstuff is in a manic state of accumulation, as this
data-diving artist masters the ecology of pure information. Within
Marilyn Minter's fetishistic, flawless pictures, we find a painter
obsessed with the clear articulation of magnified sweat beads and
pore-smeared glitter. In each successive lip-smacking painting,
Minter sets out to perfect beauty's disguise, affirming both her
pleasure in fashion imagery, and an appreciation of its vulgar
mishaps--say, a drag queen's eyelashes clumped together with too
much mascara. According to essayist John Kelsey, Albert Oehlen's
collage-paintings "seem almost bored of their own shock-value." And
yet this artist, one of the most significant German painters of the
past 20 years, can make boredom look like a rigorous, if not
delirious experiment. Also featured: Spencer Finch, Gelitin and
Mark Wallinger, as well as essayists Paul Bonaventura, Mark
Godfrey, Glenn O'Brien, Katy Siegel, Andrea Scott and Pamela Lee,
to name a few.
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