Izhar Patkin, Virtue and Village, (The Black Paintings), 1986, enamel on chrome coat paper, 93 × 42 inches each. Courtesy Holly Solomon.
Izhar Patkin, Night at the Balagany, 1986, enamel on chrome coat paper, 93 × 42 inches. Courtesy Holly Solomon Gallery.
MOLLY, MERCY, MADELINE,
MYRA, MAGGIE, MEREDITH,
MARLEY, MAGDA, MARGARET,
MINDY, MILLIE, MAGDALA,
MYRNA, MOIRA, MARIANNE,
MARLA, MAURA, MARIGOLD,
MEGHAN, MARY, MILLICENT,
MAITE, MAPLE, MITZI.
Originally published in
Martin Amis, Gretchen Bender by Cindy Sherman, Charles Henri Ford, and Roland Joffé.
How do I build a fugitive choreography, one that’s always in the process of escaping itself, then coming back to reaffirm itself, only to slide away again? The act of interpreting a choreography is made live by the performers, which is the invitation in my work.
Ligia Lewis
