I’ll admit I wasn’t sure about Meredyth Sparks’ exhibition at Elizabeth Dee Gallery when I saw it Thursday — 70’s rock stars, glitter and Constructivist iconography all looks a little too fashionable for immediate embrace — but since the weekend I’ve been coming around on that point. The collages are undeniably strong, and the work may be as politically astute as I’ve been hearing. At the very least the collages and press release seem to re-enforce each other; Sparks focuses on figures from 1972-1978, a period she identifies as a critical point of resistance to Reagan, Thatcher, and Neo-Conservatism, and her use of Constructivism, a movement known to reject art for art’s sake in favor of art made with the intent of creating social change, is a wise choice. Apparently scholar Nicolas Bourriaud is already on board, and will publish an essay in her forthcoming monograph.
On a lighter note, for those who’d like to see who Mr. Bourriaud hangs out with, the man has a Facebook profile.