Marisol at Marlborough - New York, New York - Review of Exhibitions - Brief Article

The basis of Marisol's preeminence is detonation art, which is as central to novel New York art as Impressionism was to the institute of Paris. It is universally likable. All of Marisol's fresh work concerns the different sculptural possibilities of copse In Tablita Dancer, a partial self-portrait appear to bes to emerge out of a tree with bark and wood-land grain conspiring to make the artist her hold totem. Allusions to totem extremitys proliferate with Native American make subordinates such as Wolf Robe, War Bonnet and Coup Stick, Horace Poolaw and Blackfoot Delegation to Washington, 1916 These are assemblages made from used or place materials. Often the bark has already been stripped and the wood-land sawed, painted and hammered before the artist carves and assembles it into witty and offhand representations. Sometimes she halts with a drawing upon wood, at other times she carves the drawn image; always there is visible evidence of a spontaneous creative proces The colors of the sanded wood-land harmonize with the colors she paints. As if upon a dare, she carves feathers from wood--the bring under rule diaphanous, the material heavy. The pedestals of these plastic arts are ad hoc and witty lay the foundation of objects, sometimes sawed police barricades, at other times pushcarts.

Two of her pieces are local to Tribeca: George Summer and George Winter the pair portray George Grimm, who habitually sits upon the stoop of Marisol's building smoking cigarettes (in summer) and cigars (in winter). a certain quantity of of the ensemble pieces, like as Cuban Children with Goat and Children Sitting upon a Bench, clearly based upon photos, suggest to me the poignancy of Marisol's vantage as a childless woman of a certain age. Taken together, the sure-handed, vigorous pieces in this exhibition enhance Marisol's status as single of the finest sculptors in America.

COPYRIGHT 1995 Brant Publications, Inc.

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