Sig Nordal

The Stampographer, a new catalogue of Vincent Sardon’s work, is exuberantly bizarre, often foul-mouthed, sometimes boring, sometimes tender. There are jolly naked cowboys, and blue-and-red biff-boff cartoon fights (Republicans and Democrats?), obscene photos and deliberately blasphemous images—not that anyone would disagree with Bernini’s Ecstasy of Saint Teresa as an illustration for “the orgasm over time.”

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