NEW YORK TIMES REVIEW
By HOLLAND COTTER
PUBLISHED: AUGUST 4, 2006
559 West 22nd Street, Chelsea
As a whole, this show, organized by Andreis Costa, doesn’t project the political fire its title might suggest. ”Camp,” in this case, means a kind of summer-camp grouping of three young artists who are friends and lifestyle, fellow travelers. Formal concentration is a quality that at least two of them share.
Several of Nico Dios’s small, diaphanous abstract ”drawings” are made entirely from blocks of typewriter characters. Ry Fyan’s psychedelically colored, pattern-intensive ”Art Dealer” combines painting with collage, though so close and exquisite is the execution that the line between mediums is almost impossible to detect.
Dash Snow is best known for his insider photographic record, alternately poetic and gross, of a fast-living segment of the contemporary art scene. In the large-scale photomontages here, though, he stretches into a broader, looser, less documentarian mode in images that touch on political violence and conservative thinking, without abandoning the wit and sexiness of his earlier work.
It will be interesting to see where Mr. Snow’s new expansiveness takes him. Meanwhile, for the show’s one three-person collaborative piece, he brings his energies into fine focus. Part drawing, part painting, part photo-collage, the piece includes images of swastikas, the American flag, Muslim mourners, blooming flowers, and the repeated face of a crying child. Meticulously balanced, all the elements have been assembled on the back of an old record album cover, the natural palette for a band of artists who are distinctive as soloists but achieve their most powerful work as a team.