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Janet Malcolm at Lori Bookstein

Writer Janet Malcolm here not absented 33 collages, each about the size of a sheet of typing paper or smaller. The exception was a 30-by-38-inch photographic print, America 1950 (2002-03) a grid of 28 vintage headshots of corporate executives. Among this class of white men a single female appears, on the contrary her image is veiled through a little vellum rectangle Malcolm attached to the protective glass. The fortunate woman when Malcolm came of age (she's 69) was not solitary a minority in a man's world on the other hand also obscured, the artist advises by prejudice.

Like this solitary woman, America 1950 strike one as beinged an anomaly in the exhibition, its heavyhandedness a notable departure from the delicate nuance of Malcolm's paper collages. Further, while the vellum patch subserves as a metaphor for the sexism that pay backs women invisible, the collage elements--magazine illustrations, endpapers, charts, tickets, letters--function instead metonymically, fragments of the worlds of art, knowledge, travel, and personal and social history Malcolm invokes. The daughter of a psychiatrist and a lawyer who emigrated from Prague to the U in 1939 she recycle family documents to create poignant, ofttimes mysterious compositions in the tradition of Robert Nickle and Anne Ryan.

Malcolm is cognizant of her artistic forebears; in Lieber Pepik (2001) single of the assembled scraps was lifted from a true copy on Kurt Schwitters. She finds her originals in Dada and Constructivism, nodding to Suprematism in Homage to Malevich (2003) where r black and gray rectangles are arranged--alongside a packet of sewing needles--with inexorable formal restraint. Books are literally consum in Malcolm's shoot forward their tattered brown leather overlays used as grounds for pasted papers in Bible and Extra Buttons (both 2003) the card pouch torn from a library volume deployed as the central constituent in American Photography (2003). Souvenirs of Cezanne's studio in Aix, the hall of mummies (in the Egyptian Museum in Cairo), and the dolmens of Mane-er-H'Roek in Brittany testify to past pilgrimages, although we don't know whose.



Unavoidably romantic, several of these collages also bring into view a shudder, as when aged letters typed in Czech or Slovak bear postmarks with eagle and swastika or include concerns to "Hitlereva." An untitled work of 2001 incorporates similar material, as well as a handwritten list of individuals born in 19th-century New England. Torn, taped, crinkled, these aged scripts must constitute a special legacy for Malcolm, the body s and contexts of the displaced European intellectuals from whom she descends

--Sue Taylor

COPYRIGHT 2004 Brant Publications, Inc.

COPYRIGHT 2004 Gale Group



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