In continuing the exploration of the slipages that occur between imitation and homage in contemporary creative forms, here is an interesting correlation of imagery from the new “home video discovery turns to haunting” film Sinister with Stan Shellabarger’s 2005 performance at the Museum of Contemporary Art, Chicago and Paul McCarthy Face, Head, Shoulder Painting – Wall Black Line (1972). Shellabarger and McCarthy’s embodies these prolific similarities of reference between horror cinema and visual art as their work deals with repetition, endurance, and a relationship to the space that surrounds them.

Thanks to Scott Speh at Western Exhibitions.

Related in the series: Cabin in the Woods and Peter Doig’s 1990s cabin paintings.