Continuing the thread: But so how does one deal with monochromes who over-perform the narrative theatricality inherent to its minimalist theater, dissolving the beholden position to supplant it with its own, the comedy of mimes painting, (mimes painted these) deflating the modernist is-what-it-is with a whoopee cushion like laugh. Unlike the “autonomous” gentle monochromes whose “contentless” portability transfers their contextually-fungible aura, perfectly tradable vessels for commodity markets; Cowan’s content fractures with its removal from its over theater, bringing its artifactual baggage along. Cowan’s monochromes do not behave in their silent assertion of their living quarters, but ruin the air with musty aura of its mime punchline, silent but deadly.
See: Seven Reeds at Overduin and Co.
