By Show and Tell
By Bree Davies
By Bree Davies
By Cory Casciato
By Emilie Johnson
By Robin Edwards
By Bree Davis
By Josiah M. Hesse
In the front space is I Need It 'Cause I Want It, a sculpture show made up of recent pieces by Jill Nasman. All the pieces concern the consumer culture. In "Candy" (seen above), Nasman has built a table with three Queen Anne-style legs. Over the top of the table, she has draped a cloth skirt trimmed in feathers. On top is a glass container filled with lollipops emblazoned with the logos of luxury goods, including the Chanel monogram and the Mercedes symbol. Nasman has done a couple of other tables with similar materials and artistic aims, as well as a crib with a mobile hung overhead. There's little question about what the artist is getting at. And since all the sculptures lampoon consumerism, it's a shame Nasman didn't conceive of the show as a single, coherent installation.
In the second space is Sandy Lane's installation Garden of Judgement, a metal-and-wire cage adorned with nude figures carved from wax. The floor of the cage is covered with a portrait of a woman. Visitors are invited to enter the cage, but are asked to use shoe covers so that the painting won't be scuffed.
The more conventional medium of pastel drawing is seen in the last of the three Edge solos, A Look Back: Some Work From 1987-2000, which features pieces by Rachael Amos. The drawings are meticulously done. Many have been inspired by illustrations in "Dr. Leonard's Catalog," a mail-order business selling medical aids like pads and crutches. A number of the items depicted have been transformed into figures. As can be expected, they're pretty creepy, especially considering how traditional Amos's technique is.
The three solos, highlighting three disparate talents, come down this Sunday.