May 9 - July 25, 2014
Nancy Grossman: The Edge of Always Reviews
Art in Review by Roberta Smith
The New York Times, May 29, 2014
"Nancy Grossman is best known for the elegant, androgynous, highly suggestive sculptures that she began to make in 1968: carved wood heads attired in intricate, hand-sewn leather hoods and masks festooned with chains and spikes. But the little-seen assemblage reliefs that she began making in 1964, when she was only 24, are just as good, maybe better.
In any event, this show, the first in-depth presentation of these pieces since the 1960s, is remarkable. They are alien forces of nature yet fiercely in dialogue with much of the art of their time, riffing simultaneously and effortlessly on Abstract Expressionism, junk sculpture, Pop Art and a “specific-objects” type fusion of painting and sculpture..."
Critic's Pick: Nancy Grossman
ArtForum, June 2014
"There’s an unsalutary air about Nancy Grossman’s wall-bound assemblages: a sense of impaction or suppurated swell like a beetle squished then left to harden. For all their blunt materiality, her bas-reliefs, produced between 1964 and ’67, invite metaphor. Elaborated on canvas reinforced with plywood, each consists of leather artifacts—gloves, jackets, boots, harnesses, and so forth—which Grossman has deconstructed and collaged with bits of mangled wood, metal, rubber, and rope. Color is subdued, restricted to reddish browns and black acrylic, which coats the scavenged debris and canvas ground: here, a desultory splotch; there, a faux-AbEx drip. The results, hung alongside a selection of drawings and three freestanding forms, straddle painting and sculpture."
Upcoming Art Fairs
Beyond the Spectrum, Filmed on Location
NYC-Arts on Location at MRG
originally aired Thursday, January 30, 2014 at 8pm