In an arch NYTimes review this morning, Roberta Smith suggests Pamela Rosenkranz's solo at Miguel Abreu relies too heavily on the over-articulated, perhaps overwrought, ideas behind the work rather than trusting viewers to draw their own conclusions.
Is Rosenkranz overthinking the work, or is she simply oversharing in her statement about the work?...The serenity is readily apparent in large fields of gleaming, slightly oozy white, seemingly trapped behind glass and a series of large, curved, freestanding sheets of pebbled Plexiglas, through which the rest of the show is distorted...It is the back wall, painted a rather too pleasant shade of pale pink and the bright touch of turquoise just in front of it — a bottle of Gatorade on the floor — that sends you to the news release and the checklist for further guidance. These inform you that all the paint colors are really different shades of white latex from Ralph Lauren (the pink, for example, is called resort white); that those white framed works present nothing but quantities of an adhesive used to mount photographs; and that the brushy ones are mixtures of latex and soft drinks applied to photographs of fossils...The show’s title, “Because They Try to Bore Holes,” is a quotation from the French artist Yves Klein, complaining about birds puncturing his greatest work of art, the sky. He seems to exemplify an overblown artistic subjectivity that apparently does not sit well with Ms. Rosenkranz, whose work, according to the news release, “collapses the potential meaning of an artwork to its meaningless material elements.” Of course the viewer’s subjectivity is the unknown variable in this equation. I still thought it was beautiful, but next time I’ll be more careful. (Read the entire review here.)
Pamela Rosenkranz: Because They Try to Bore Holes, 2012, installation view at Miguel Abreu Gallery, New York, NY. Through April 15, 2012.
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