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Review: After 'Lifelike' at Mt Comfort


Kipp Normand, "Snow Boy"
  • Kipp Normand, "Snow Boy"
Mt Comfort curator Austin Radcliffe is going out with a bang with a well-considered, excellent exhibition, his last in the space before a move to New York. After 'Lifelike' examines the appropriation of manmade objects in art. It is a response to Walker Art Center of Minneapolis's 2012 exhibition Lifelike, which closely examined artwork based on commonplace objects and situations. The curator's statement on the wall at Mt Comfort is lifted from that exhibition's catalog.

The show's sign and labels are hand-written in a nod to Radcliffe's DIY curatorial approach to the show, which saw him building a crate to bring the Tom Sachs drawing "John-Scale Rocketship" to Indianapolis on a bus after months of work to get it into the show.

Pieces include a Christie's auction catalog cover featuring one of Warhol's Coca-Cola bottle pieces, which, displayed in the gallery setting, becomes appropriation of an appropriation, and raises questions of authenticity, depiction and value.

Kipp Normand's assemblages of vintage consumer product labels (pictured) succeed as a discursive response to Warhol's repetition and appropriation, abandoning Warhol's usage of timely, relevant and crisp product representations for something older, more obscure and in varyingly poorer condition due to age and usage.

Zachary Armstrong rounds out the exhibition's offerings with his own renderings of consumer products, the highlight being a large hand made rendition of a canvas sneaker - a clever piece because canvas is used for both sneakers and artist's canvases.


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