Writing for cityArts, Maureen Mullarkey reviews a new exhibition at the DC Moore Gallery, American (ir)religiosity:
Censorship battles over sexually explicit imagery have been won. That old X-rated thrill is gone. Nowadays, organs and orifices are as transgressive as your parish bulletin. Only demon blasphemy has enough life left to pinch-hit for beaver shots and bull whips—or so the gallery wants to think.
On one level, Beasts of Revelation is a standard publicity caper, the kind that banks on the Catholic League to rise to the bait. Nothing boosts box office like a picket line of retired Knights of Columbus at the gallery door. Moreover, this is an election year, as civic minds at DC Moore remind us. The gallery is primed for Nov. 6 with latter-day riffs on Christian iconography, stand-ins for the social conservatism identified with a Republican candidacy. To underscore the point, two LDS-raised artists are showcased for their upbringing, not talent.
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