I had an enjoyable lunch hour this week trekking round Kendall Koppe and Transmission galleries in Glasgow. The show at Transmission includes performances, which I missed, so I will write about that once I have caught the performances.
At Kendall’s, meanwhile, there is a two-man show of works by Craig Mullholland and Zachary Drucker. Drucker’s contribution is a film and accompanying light box image of drag artiste Flawless Sabrina, while Mullholland is showing three linen prints on the walls, as well as simulacral box of cigarettes and a ghostly jacket. I say ghostly because it’s puffed out as if being worn by an invisible man.
I’ve no idea if the jacket was ‘readymade’ or not, but it brings me nicely to the Jasper Johns reference in my title. ‘The Critic Sees’ centres on a pair of eyes looking through spectacles, simultaneously mocking the critic by subverting his role from that of onlooker to that of object on display. Crucially, however, it also reminds the viewer of their own relationship to the object: they are external and bring their own ideas and preconceptions to the table.
Mullholland’s Dadaist jacket stands in
for us as we look around the gallery, and temporarily forces us to step outside our physical selves and draw attention to our actions as a viewer. Similarly, his linen prints, with slogans like ‘refresh me’, play on our preconceptions to the nature and traditional method involved in their production. As to the intent behind all this, it’s maybe too simplistic but it could easily refer to the subject matter of Drucker’s film which is after all an exploration of identity and representation in microcosm.
As for the gallery, their accompanying text mentions ‘normative efficient embodiment’. I can’t say if that particular nugget corresponds to my interpretation or not, but maybe it will work for you!