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David Hunt
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| David is a writer, critic, and independent curator living in New York.
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Articles by this Author
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Angelo Filomeno -- Seasonal Affective Reorder
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I mention this because Angelo Filomeno, born in Otsuni, Italy and educated at The Academy of Fine Arts in Lecce, is likewise the kind of a person who cautiously marshals his own verifiable facts (and poetic embellishments) to make a grandiloquent point. A certain trickster charm bordering on modest sacrilege is but one of his tactical hallmarks.
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ChanSchatz: The Crystal Trap
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These simple constellations of symmetrical patterns neatly dovetailed with Goethe’s Romantic notion of an irreducible ideal found in living nature. Dimpled surfaces, serrated edges, and ribbon-like appendages, when arrayed squarely across the page in perfect hub-and-spoke format, instantly became the new design idiom.
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Erik Parker at Leo Koenig Inc.
Erik Parker is comfortable in the role of Minister of Information, passing out star maps to 359 Broadway (Leo’s crib) and 26 Wooster (“The Gallery Has Moved”) like a precocious teen haunting the studio back lots, looking for the odd address to add to the Bel Air tour; but as for the guerilla-chic berets and storm trooper boots, well, that’s like, so two years ago.
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Jeff Eldrod at Leo Koenig, Inc.
The real leap in computer/conceptual painting comes with Jeff Elrod’s first solo at Leo Koenig Inc. Since Elrod’s paintings begin with what he terms “frictionless drawings” made with a mouse in a simple software program, they reminded me of another early arcade game pioneer, Jeff Spicoli in Fast Times at Ridgemont High: “The thing with Pac-Man is you’ve got to decimate, before you’re decimated. It’s just like life.”
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Jeremy Blake's Winchester Trilogy
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Winchester (2002), Jeremy Blake's latest animated DVD, thankfully strikes a perfect balance between a crypto-mystic narrative percolating just beneath the surface and the fantasias of psychedelic color glowing like kryptonite that characterizes all of his opulent video work.
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Torben Giehler's ShockWave Xanadu
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Over the past four years, Torben Giehler’s delirious reworkings of the modernist grid have followed the same trajectory as Mondrian, but their referents – flight simulators, PS2’s stately vector-netted pleasure domes, and the bunker architecture of color-coded Death Stars – is as far from Mondrian’s leaded glass windows, butterfly wings, and cathedral floor plans as a pixel is from a cross.
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