A R T L E T T E R
The Timely Magazine of Art
#40 | <!>previous/ next>!> Artletter index | November 1, 1996 |
Susie Rosmarin at Lynne Goode Gallery 12/1 Static. The word in itself is ambiguous. It implies both something which does not move and something loaded with a disturbing impeding energy. (There is static on the line). Susie Rosmarin's Static paintings - 6 in all - are static in both senses of the word. The underlying system and structure of the paintings is very quiet and severe - a minute grid of grey, black and white layers in differing combinations. And yet in their density the pixels dance in front of your eyes giving your vision no relief from the seemingly blank screen you are looking at. Although fairly small in actual size they are so powerful and unremitting that I found it extremely hard to concentrate on anything else in the space. By comparison the much quieter black paintings seemed to rest too much within their own formalism whilst Phlag and Static Studies literally gave too much relief in optical illusion. But I guess that is how you know when something really sings.- Francesca Fuchs Susie Rosmarin at Lynne Goode 12/1 "Susie Rosmarin is a modernist"- this taunt, echoing in the back of one's mind at her one person show at Lynne Goode gallery lends a defiant edge to her austere, precise works. In Grid Dialogs #1, 2, and 3 the thin, brittle grid lines etch the illusion of a receding, infinite void onto each satiny square, wavering between utter flatness and immense depth. Rosmarin's Static paintings are conceptually dense and visually hypnotic. At this relatively small scale (that of a TV screen) they radiate a nervous, silvery sheen. Portraits of nothing, they evoke the blank obfuscation which underlies the overload of media information. Static to her is a metaphor for trash; visual nonsense which she stylizes and orders into a digital field of tiny rectangles. Cramming together contemporary technological references, Op art effects, and intricate, fetishistic process, the static paintings are an overload in themselves.-B.D. Sharon Kopriva at Barbara Davis Gallery 11/9 It's Norman Rockwell meets Tales from the Crypt. Great for a Halloween show, but then what? Given to anecdotes, these new pieces have lost the spritual dimension that her previous work might have had.- Bernard Brunon J. P. Morgan Library Collection 1/5 Reminds me of what rich people should do with their money. One can only hope Bill Gates is as up for the task. Although the Magna Carta is a good start. JPM had a good eye: not for esthetics but for 'aura'. He acquired objects (aside from their obvious historical significance) with immeasurable aura, the secret ingredient necessary to any great art work. Manuscripts with notes in the margin and doodles by the author- the residue of fleeting thoughts not always present in the finshed work, but necessary to the art process- is the most interesting aspect of the exhibit. These 'doodles' (like the one in Balzac's notebook) offer a kaleidoscopic glimpse into the artist's mind. Exhibits like this remind us of the significance of the singular, rarified, handmade object in this age of electronic reproduction. This show has resonance, says this artist.- Jeff Elrod Artletter is available the 1st and 15th of every month at Brazos Bookstore, Lawndale, Glassell School, Inman Gallery, Menil Store, CAM Store, Brazil Cafe, and the MFA bookstore. Mail subscriptions $15/year. Address letters to: Bill Davenport, 801 Tulane St., Houston TX 77007