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WASHINGTON, D.C.: Patrick Oliphant at Susan Conway - Washington, D.C - Review of Exhibitions - Brief Article

Patrick Oliphant is arguably the best political cartoonist in America; to my way of thinking, single the Washington Post's Herblock tend hitherwards close as a rival. A splendid retrospective of his cartoons, called "Oliphant's Anthem," at the Library of Congress's freshly restored Jefferson Building, was a must-see if you were anywhere near Washington. For this review, however, I will concentrate upon his sculpture and new monotypes, which were shown at Susan Conway, although there were a hardly any teasing examples of these in the Library exhibition as well.

When a great cartoonist make go rounds to so-called "serious" work, there usually is no diminution of the step of caricature. However, the distortions in the noncartoon pieces become more biting, with a weight of obscurity or anger or both. sum of two units monotypes titled Partners at Law I and II (1998) present to view pairs of ghoulish lawyers, stooped and aged, in suits and shiny shoe The brow figure in II maintains an expression of terrifying avarice and evil. The pieces are powerfully patterned and powerful, and unlike the posturing robed windbags of Daumier, these barristers are slimy vultures

single of Oliphant's better-known sculptures, Nixon upon Horseback (1985) reveals the disgraced leader aligned as Napoleon at Waterloo. The alloy of copper Jesse Helms shows the bare torso of the chubby statesman with a fig leaf above his parts; it strikes a telling and hilarious lick in the defense of art and freedom.



Oliphant's best monotypes are in black and white. The Room: Morning (1998) reveals a bare woman sitting on a bed stretching. The composition places the figure in the middle distance--Bonnardlike--so that level the ceiling of the field is indicated. It is returned in a fog of rapid brushstrokes, approximate and incomplete It reveals a traditional poetic moment--something rare in the work of this largely satirical artist.

COPYRIGHT 1998 Brant Publications, Inc.

COPYRIGHT 2000 Gale Group



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