Reviews
http://www.nytimes.com/2011/07/08/arts/design/perfectly-damaged.html?_r=1
and The Village Voice:
Some great artwork has come from purposeful destruction—think of Gordon Matta-Clark back in the '70s sawing massive ellipses out of the floors, roofs, and walls of abandoned buildings. Valerie Hegarty channels Clark with her faux-distressed Interior Wall With Grand Canyon, a life-size foamcore-and-cardboard concoction depicting a battered plaster and lathe wall adorned with a ripped landscape. This artifice of destruction is continued in Quinn Taylor and Michael DeLucia's Radon. After Taylor painted skewed geometries on a sheet of plywood, DeLucia used a router to carve rigid striations into the surface; due to the cheap wood and thick layers of house paint, the elegant patterns of the cuts are undermined by their furred and clotted edges. A score of bullet-size holes puncture Molly Zuckerman-Hartung's small 2008–10 painting of a surrealist biomorph undergirded by a colorful cubist framework. Silver paint drips like blood, and the scraped surface is as rough as a week-old scab, conjuring a haunting, corporeal struggle, a notion that occurred to me well before I read the title: Damaged Nightwood (Have I not shut my eyes with the added shutter of the night and put my hand out?). Derek Eller, 615 W 27th, 212-206-6411, derekeller.com. Through August 17
http://www.nytimes.com/2011/07/08/arts/design/perfectly-damaged.html?_r=1
and The Village Voice:
Some great artwork has come from purposeful destruction—think of Gordon Matta-Clark back in the '70s sawing massive ellipses out of the floors, roofs, and walls of abandoned buildings. Valerie Hegarty channels Clark with her faux-distressed Interior Wall With Grand Canyon, a life-size foamcore-and-cardboard concoction depicting a battered plaster and lathe wall adorned with a ripped landscape. This artifice of destruction is continued in Quinn Taylor and Michael DeLucia's Radon. After Taylor painted skewed geometries on a sheet of plywood, DeLucia used a router to carve rigid striations into the surface; due to the cheap wood and thick layers of house paint, the elegant patterns of the cuts are undermined by their furred and clotted edges. A score of bullet-size holes puncture Molly Zuckerman-Hartung's small 2008–10 painting of a surrealist biomorph undergirded by a colorful cubist framework. Silver paint drips like blood, and the scraped surface is as rough as a week-old scab, conjuring a haunting, corporeal struggle, a notion that occurred to me well before I read the title: Damaged Nightwood (Have I not shut my eyes with the added shutter of the night and put my hand out?). Derek Eller, 615 W 27th, 212-206-6411, derekeller.com. Through August 17
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