“No Wrong Holes: Thirty Years of Nayland Blake” at the Institute of Contemporary Art, Los Angeles, probes alienation and isolation with wit and wisdom.
You won’t find one of artist Nayland Blake’s sassy rabbits, which have been a common feature of the artist’s work, in the vast collection of Altadena’s cheerful Bunny Museum. In drawings, sculptures and videos, Blake’s rabbits tend to exude a mordant humor of layered depth.
In China, babies born during the Year of the Rabbit are said to be sensitive to beauty. In the West, given the regeneration associated with the Easter bunny and the erotic power dynamics of the Playboy logo, the bunny has long been a — you should pardon the expression — fertile symbol.“Starting Over,” Blake’s 23-minute video projection in the final room, sweeps up all these elements into one.
Blake is a skilled draftsman, as five selections in graphite and colored pencil from the series “After the Turner Diaries” attest. Rabbits dig in the dirt, are pulled from a magician’s hat, boil in oil. Blake, the son of an African American father and an Irish American mother, is light-skinned; the African American heritage is easily missed. Like Conceptual artist Adrian Piper, whose work has also dealt with racial passing, Blake’sIn the dominant society, which includes the art world, the New York-based artist is socially an outsider who seems to be an insider.
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