Jerry Saltz at New York Magazine:
Eisenman has said she started out in a “degenerate and proto-queer” environment, asserting that, when she arrived in New York in the late 1980s, there “was no such thing as queer yet.” The artist wasn’t interested in modernism’s pieties. She was after drama. Her influences include Caravaggio, Giotto, Michelangelo, Grant Wood, Georg Baselitz, and WPA murals, all mixed into clusterfucks of seriousness and stupidity, tenderness and the grotesquerie. Her Alice in Wonderland depicts a tiny Alice whose head is jammed into the vagina of Wonder Woman. She’s created scenes of castration and Betty Rubble and Wilma Flintstone in flagrante ecstasy. Artist Amy Sillman wrote that Eisenman renders figures “with riotous unpredictability, anti-Puritanically taking delight in misbehavior on every level.” Eisenman takes the sacred and drags it across the barroom floor.
Her paintings at 52 Walker are delirious indictments of politics, art, and money. The show is brilliantly installed on tinted Homasote walls that exude warmth and knit together the entire space. Drawings and collages are pushpinned to the walls.
more here.
Enjoying the content on 3QD? Help keep us going by donating now.