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23-Oct-2014 02:45 by 2 Comments

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Ali Subotnick, who organized “UH-OH” for the Hammer Museum (supported in Boston by Liz Munsell, the MFA’s assistant curator of contemporary art and special initiatives), has designed a show that spirals through themes and motifs. Stark’s charming, awkwardly hilarious video “My Best Thing” is near the gallery entrance.

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For Stark, reading is every bit as intimate as virtual sex, and for all her digital wizardry, she is as prolific making analog art.

As these paintings proceed, she covers the glass walls with mylar for privacy and self-reflection.

The images draw on art history (a reclining woman — the artist) and popular culture (rappers 50 Cent and Soulja Boy) and ask: Is power in the gaze, or in the display? Stark struggles with it as a woman, an artist, and someone who crafts her life for exhibition.

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The format doesn’t sanitize the sexual content so much as spoof it.

Advertisement How does technology shape the way we communicate? In the middle gallery, “The Inchoate Incarnate: Bespoke Costume for the Artist” depicts an earlier style of communication: The rotary phone.

Stark’s collages and paintings have graphic design’s crackle, and they teem with references to Western art history and literature.

She sets “Push,” “Pull After ‘Push’,” and “Push After ‘Pull After Push’ ” inside her studio, a glass-fronted store in a mall.

The mylar in those paintings says a lot: You can’t have revelation without concealment.

A zesty group of mixed-media collages of chorus girls wearing dresses in dizzying op-art patterns makes just that point.

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