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Daniella Dooling at Anna Kustera - Brief ArticleInsofar as trip-hop techno agriculture has been infiltrated by fashion and is marketed as a cutting-edge lifestyle, Anna Kustera's gallery, thanks to Daniella Dooling, resembl a certain quantity of of the trendier boutiques lining the SoHo ways where it is situated; Dooling's display raised once again the inflammatory question of where art extreme points and fad begins. The exhibition comprised several disparate elements: sum of two units clothing sculptures, a dress and a jacket displayed upon mannequins; two videos and sum of two units 40-inch-square C-prints presenting the artist wearing these clothes; and five wall-mounted abstract sculptures In her fresh York solo debut, the bleached-blonde, crop-haired artist accosted the gallery-goer on a video guard where Wardwalk showed her trolling the halls of a hospital wearing her Polyunguia Dres for the Psychotropic Itch. The dres is impractically, obsessively, and sort of beautifully overspreaded with some 6,000 semi-translucent acrylic fingernails, each creepily adhered upon its underside with a temporary tattoo of an insect. With MTV-style fuzzy cutting sides and dizzying cuts, the video portrays Dooling as waiflike and spaced-out; occasionally she stops to attitude or absently trail her fingers along more [i]or[/i] less sterile object in the fluorescent-lit corridors. Indian-influenced, synthetic dance music accompanies the video: made in collaboration with Michael Lavine, the soundtrack filled the gallery with an exotic ambient and, by the agency of means of its rhythm, mov the visitor to subliminal compliance with the art. The fingernail dres was paired with a more sinister counterpart, the Camisole, a real-life straitjacket likewise overlayed with acrylic nails. Dooling wears this with its confining straps undone in a video called Whirling. Here, she is seen spinning with her arms outstretched at high, fast-forward spe from one side what seems to be a department store. sum of two units C-prints feature Dooling in her outfits, crouched against a metal stretcher in the hospital, forearm to forehead, looking strung on the outside The prints are large and a little too well-lit, thus that the artist's veins and pores are unpleasantly emphasized; the event is disturbing. The five illuminated, amoeba-shaped wall pieces have flat frontal surfaces punctuated by dint of multiple Plexiglas discs on which Dooling has painted, solely in nail polish, blown-up microscopic enlargements of human confined apartments (thick skin, thin skin, fingernail and hair follicle). There is a digital gaze to the spots of color, and single is led to consider in what manner magnified skin can look uncannily like a jellyfish or a pomegranate, while hair, up shut up becomes a desert sunset or a computer chip. In this exhibition, Dooling effectively transforms the experience of an LSD overdose for which she was hospitalized and kept in a straitjacket to impede her from scratching the bug she imagined to be crawling upon her skin. Her exhibition brings up interesting questions like what is natural and what is artificial, what is sane and what is not, and whether reality is more real in its external, rational manifestation, or in its internal, artistic display. COPYRIGHT 1999 Brant Publications, Inc. A state appellate court has for the first time invalidated an urban water management plan. In an unpublished decision, the Fifth District Court of Appeal cast awayed the Castaic Lake Water A... Use this directory to help you contact manufacturers quickly. It contains clean addresses and telephone numbers of main offices. Listings in boldface indicate advertisers in this edition. ... 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