Bay Guardian, 'Confess' by Harry Roche, November 27, 1996
The same confessional splurge characterizing many an hour of Oprah
is the impetus behind 69 motley artists' humorous and occasionally
heart-wrenching displays of self-revelation at Southern Exposure.
'Confess', Southern Exposure's sixth annual semi-egalitarian, entry
fee-free competition was assembled by Thelma Golden, jet-lagged juror
and associate curator at the Whitney Museum of American Art in New
York, from a pool of some 500 northern Californian artist-confessors.
Much of the best work she selected is grouped together in the intimate
second-floor gallery, including John Norton's All in a Day, a sucker-for-sweets
Joseph Cornell-ish medicine-cabinet reliquary. So Many Roses, Galen
Brown's graphite frieze, pays flushed homage to father dadaist Marcel
Duchamp's famous urinal and female alter ego, Rose Sélavy.
Teresa Chen's Self-Portrait with Bruises is a painfully naked snapshot.
Standouts downstairs include Megan Wilson's stark, poignant Subject:
Confession, which marries E-mail and moleskin to document love connections
forged and frayed in cyberspace. The hands-down crowd-pleaser is
Second Degree Confession, Ted Colt's maniacally irreverent coin-operated
confessional, which offers plenty of peep-show appeal for voyeurs
and exhibitionists alike (theVoice from above is your own).