Installation Shots From: Gaiety Is the Most Outstanding Feature of the Soviet Union
Installation Shots From: Gaiety Is the Most Outstanding Feature of the Soviet Union
Installation Shots From: Gaiety Is the Most Outstanding Feature of the Soviet Union
Installation Shots From: Gaiety Is the Most Outstanding Feature of the Soviet Union
Installation Shots From: Gaiety Is the Most Outstanding Feature of the Soviet Union

Sean Dack

SELECTED WORKS BY Sean Dack

Sean Dack
Futuresongs: 1983...

2006

C-print

61 x 47.5 cm

Sean Dack
Futuresongs: 1985...

2006

C-print

61 x 47.5 cm

Sean Dack
Futuresongs: 1986...

2006

C-print

61 x 47.5 cm

Sean Dack
Futuresongs: 1989...

2006

C-print

61 x 47.5 cm

Sean Dack
Futuresongs: 1993...

2006

C-print

61 x 47.5 cm

Sean Dack
Futuresongs: 1995...

2006

C-print

61 x 47.5 cm

Sean Dack
Futuresongs: 1997...

2006

C-print

61 x 47.5 cm

Sean Dack
Futuresongs: 1998...

2006

C-print

61 x 47.5 cm

Sean Dack
Futuresongs: 2000...

2006

C-print

61 x 47.5 cm

Sean Dack
Los Angeles Helicopter

2007

Digital C-print

76.2 x 111.8 cm

Sean Dack
Building (Hotel)

2008

Digital C-print

96.5 x 76.2 cm

Sean Dack
CCTV #2

2007

Digital C-print

113 x 76.2 cm

Sean Dack
Unmarked CIA Plane

2008

Digital C-print

76.2 x 113 cm

Sean Dack
Jigsaw

2007

Digital C-print

76.2 x 91.4 cm

Sean Dack
West Coast Missile Test

2007

Digital C-print

76.2 x 91.4 cm

Sean Dack
Untitled

2008

Consumer electronics encased in rubber

43.8 x 25.4 x 36.2 cm

Sean Dack
Untitled

2008

Consumer electronics encased in rubber

43.2 x 35.6 x 34.3 cm

ARTICLES

Art in review: Sean dack

Sean Dack's video installation ''No Encore,'' part of his first solo show, is a reasonable representation of the growing genre of what might be called the art music video. Using several short, well-known, extensively manipulated sequences of Kurt Cobain of Nirvana in concert, it meditates on the flamboyant suffering and often self-destructive impulses of the stereotypical young artist, especially the male one.

In blurry slashes of hot color and dark shadow, Cobain is shown ricocheting around, on- and offstage, destroying guitars and speakers, flinging himself into the audience and, in one instance, being pursued by a violent fan. The effect is that of a highly compressed version of the film ''Gimme Shelter'' filtered through Warhol's ''Shadow Paintings.'' (Abstract Expressionist angst and Richard Serra throwing lead may also suggest themselves.)

Read the entire article here
Source: nytimes.com