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Cady Noland
Galerie Buchholz | New York
Cady Noland rarely shows new work, but when she does it’s a big occasion—and in this instance doubly so because the exhibition of six new sculptures (and three prints on metal from the early 1990s) was produced in tandem with the release of her self-published two-volume book, THE CLIP-ON METHOD (2021), which also happened to be the title of her presentation here. As much a catalogue raisonné as an extended manifesto and meditation on evil, the publication contains copious photographs of her art and exhibitions from the 1980s to the present (including the 1989 work for which the volumes and show are named), writings by the artist, and selections from sociological texts that examine the moral and political decline of America.
Noland picks up where Warhol left off in her fascination with the pathological dimensions of popular culture, but instead of the pictorial bombast of dead bodies, police riots, and atomic explosions, the dystopian vision she explores in this exhibition is anticlimactic and clinically...