X-ray vision...
O joy. The light fantastic that penetrates the flesh, getting down to the bone (and the corset stays). Riffing on the old masters, these X-ray images, digitally printed on canvas, are unlike anything you've ever seen. Leonardo's "Last Supper" is upended here to a wedding banquet. Center stage, the bride wears a tiara, it balances on air: a halo. Necklaces float, bracelets are suspended. Wine bottles, too. Elsewhere, a full-length portrait of a woman reveals her heels' steel spikes and the aformentioned foundation garment. A het couple kiss but they're joined at the navel (fusion/infusion?), and a 21 st. century Venus, half woman/half octopus, is draped in pearls. Don't miss the stunning "La Sirena", an odalisque mermaid dangling a small fish above her upturned mouth. Crave more? Stay for the X-ray video of a woman pleasuring herself.
Big, bold, and assured, the work is capitulatively beautiful.
A word on the artist: Bonichi never really set out to become one. "After my classical studies came the philosophy, the ancient history, the anthropology, the philology, the paleoethnology...in 1999, after years of trial, the first X-rays are born." (Benedetta Bonichi, "To See In The Dark", (2002) p. 100.
Benedetta Bonichi at Keith de Lellis
47 E. 68 st.
212-327-1482
through Nov. 25
www.keithdelellisgallery.com
www.toseeinthedark.it
p.s. actually, I'd love to be in one of her images. Ms. Bonichi may be in for a surprise...
New work from the master of the camera obscura, this time in muscular color. The inverted facade of the Philadelphia Museum of Art, all colonnaded and honey-orange, is superimposed over a de Chirico painting, its blues complimenting the edifice. There's a ladder in the corner, perfect for scale (ha). Wouldn't it be lovely if that esteemed institution purchased this print and displayed it next to the painting? This is the best image in the show. Close second would be a b&w camera obscura, "Sunrise Over the Atlantic Ocean," where a band of white light (aka the sun) slashes diagonally across the wall onto the floor. The ocean is projected onto a blank white wall and a door. Sunrise atop a closed door. A new day on a fucking closed door...
Money, $7 million of it. A b&w cityscape of moolah, used bills banded into bricks, stacked like a child's play towers. Ka-ching.
A grab bag of a show, but in every trick-or-treat sack there's a Torres chocolate or two.
Abelardo Morell "Furthermore", at Bonni Benrubi
41 E. 57 st.
212-888-6007
through Dec. 2
www.bonnibenrubi.com
A fitting conclusion to the afternoon--the accepting landscapes of Gregory Conniff. Large-scale and b&w, shot at the edge of "managed" areas. A link, a segue:an interregnum. A very 19c. feel, very Constable. A quality of stillness, even when the wind blurs the leaves. Sensory, in a delectable way. Romantic, with the occasional bout of a gorgeous, warm tone. The affectionate vegetation of the South (Miss.) stirs up more empathy than the solid and stony regions of Wisconsin, but that may be just my own predilection.
Gregory Conniff
(sorry, show's closed. Visit: http://webpages.charter.net/gconniff/
Big, bold, and assured, the work is capitulatively beautiful.
A word on the artist: Bonichi never really set out to become one. "After my classical studies came the philosophy, the ancient history, the anthropology, the philology, the paleoethnology...in 1999, after years of trial, the first X-rays are born." (Benedetta Bonichi, "To See In The Dark", (2002) p. 100.
Benedetta Bonichi at Keith de Lellis
47 E. 68 st.
212-327-1482
through Nov. 25
www.keithdelellisgallery.com
www.toseeinthedark.it
p.s. actually, I'd love to be in one of her images. Ms. Bonichi may be in for a surprise...
New work from the master of the camera obscura, this time in muscular color. The inverted facade of the Philadelphia Museum of Art, all colonnaded and honey-orange, is superimposed over a de Chirico painting, its blues complimenting the edifice. There's a ladder in the corner, perfect for scale (ha). Wouldn't it be lovely if that esteemed institution purchased this print and displayed it next to the painting? This is the best image in the show. Close second would be a b&w camera obscura, "Sunrise Over the Atlantic Ocean," where a band of white light (aka the sun) slashes diagonally across the wall onto the floor. The ocean is projected onto a blank white wall and a door. Sunrise atop a closed door. A new day on a fucking closed door...
Money, $7 million of it. A b&w cityscape of moolah, used bills banded into bricks, stacked like a child's play towers. Ka-ching.
A grab bag of a show, but in every trick-or-treat sack there's a Torres chocolate or two.
Abelardo Morell "Furthermore", at Bonni Benrubi
41 E. 57 st.
212-888-6007
through Dec. 2
www.bonnibenrubi.com
A fitting conclusion to the afternoon--the accepting landscapes of Gregory Conniff. Large-scale and b&w, shot at the edge of "managed" areas. A link, a segue:an interregnum. A very 19c. feel, very Constable. A quality of stillness, even when the wind blurs the leaves. Sensory, in a delectable way. Romantic, with the occasional bout of a gorgeous, warm tone. The affectionate vegetation of the South (Miss.) stirs up more empathy than the solid and stony regions of Wisconsin, but that may be just my own predilection.
Gregory Conniff
(sorry, show's closed. Visit: http://webpages.charter.net/gconniff/
posted by M. Apparition at 1:18 PM
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