JACK POSPISIL at Studio Facchetti
By wryly inverting symbols of decay and fertility, Jack Pospisil imbues his considerable oeuvre with oxymorons. His subjects are balanced and presented in a disciplined fashion as he charts new territory in his navigation of the inevitable, and the surprises one finds en route. A countercurrent of seeming irreverence is undercut by a reliance on repetition, such as thousands of screws embedded in a log, or a row of cast-plastic skulls backlit by neon. And in this novel terrain, where the industrial meets the organic, incongruous lexicons are combined with seamless cohesion. The artist seems to invent new life by juggling elements from incompatible worlds. Pospisil often uses organic forms as a departure point, no pun intended, casting directly from molds he makes from the bones or body. In the show at Facchetti Studio, his latest subject is an octopus, which he has recast a dozen times, and placed in rings around a neon spiral. While the octopi are not alive, they clearly are representative of life, evoking the primality of cave renderings and the magic associated with depicting animals. With the light shining through, the castings are at once fecund and elegiac, full of promise as well as loss. With the spiral careening silently and frozen behind them, they seem to act as repositories, where memory and experience are transported.
In a piece that reminded me somewhat of Petah Coyne’s wax “root” hanging sculpture, the “chandelier" of fungi attached to a trunk and hanging form the ceiling was another reaffirmation of life in the face of death. The very thing that gives the fungi life is itself dead. As we find throughout Pospisil’s “constructs,” there is a sense of inevitability here too, as if it’s actually plausible that all these different fungi could band together and completely swaddle this trunk, which is literally cut off, at both ends, from the world. And again, Pospisil’s deft use of repetition, the layers of fungus attached to the trunk, says volumes about the man’s method and style, of which he’s got plenty.
Studio Facchetti, March 16 – April 29
Samantha Carrolls OeuvreBy S. David
MARCH 2023 | Film
Love Lizwhich premiered in September 2022 as part of the second installation of the exhibition Health Ensurancecenters around an aspiring pop star (played by Carroll) who travels to Los Angeles to meet a music producer with whom she has connected over Instagram.
Günther Uecker: ShieldsBy Annabel Keenan
DEC 22–JAN 23 | ArtSeen
Shields brings together just a handful of new and historic paintings, sculptures, and works on paper by Günther Uecker, creating a petite, elegant homage to the German artists 70 years of work. Throughout his career, Ueckers main materials have included nails, graphite, and paint. He embraces the nuanced associations of nails in particular, considering the industrial use of the material to build and protect. For his newest body of work made in pandemic isolation, Uecker reflects on the layered function of a shield as an object to defend oneself from harm and a marker of self-identification in family crests and personal symbols.
Motherwell’s Early Drawings and Pragmatist PerceptionBy Gregory Gilbert
FEB 2023 | Critics Page
Motherwells extensive oeuvre is divided into a variety of separate media that includes painting, drawing, collage and printmaking. While he experimented with mixed media approaches throughout his career, he tended to ascribe specific aesthetic and technical values to each of these areas of practice, as Katy Rogers noted in the catalogue raisonné of his drawings.
Oh, Say Can you Sing?By Hannah B Higgins
DEC 21-JAN 22 | Critics Page
Friedrich Nietzsche wrote about idols as something to sound: We imagine the hollow, golden calf that horrified Moses as full of air, a mere bloviator on behalf of the Canaanite fertility god, Baal. But Nietzsche pushes the reader to go further, to listen to the idols famous hollow sound as someone with ears behind his ears, which invitation theorizes sound about sound. WJT Mitchell theorizes metapictures along similar lines; they consist of a picture in which the image of another picture appears and which may function as a foundational metaphor or analogy for an entire discourse.