Jose Lerma's Installation at Andrea Rosen
My latest piece is up at The L Magazine. This week I talk about Jose Lerma, Tony Feher, and Sean Bluechel:
Murphy’s law dictates that the shows I end up liking will be viewed a week too late to review them for this column. This week’s casualties include Greene Naftali Gallery’s thoughtful group exhibition on film and beauty, Filmschöenheit, and Mitchell-Innes & Nash’s three-person show—featuring Jacob Kassay, Robert Morris and Virginia Overton—exploring negative and positive space.
Technically, José Lerma’s solo show I am sorry I am Perry at Andrea Rosen Gallery should be on this list too—it closed January 17—but it’s generated enough buzz to warrant more than a mention. What caused all the excitement? A shimmering reflective curtain hanging in a room permeated by a dim hum was part of it for me. I felt like I was in a magic show. Alongside the drapery, a faceless painted portrait of a 17th-century banker baron rested on top of a keyboard. Looking (and listening) longer, I decided it was better described as the first note of a still-to-be performed opening act; Lerma provided us with no more than a purr in D-minor, weighing a different loose abstract composition in pen on top of two keyboards to create the sound. As for the curtain, what went on behind it we don’t know. Typically used to block light and heat, the surface was so reflective in spots that I was occasionally distracted by my own image.
To read the full piece click here.
Comments on this entry are closed.