John Coplans, Self Portrait, Reclining Torso, Arms Folded, 1985. Courtesy of Pace Magill.
John Coplans, Self Portrait, Reclining Torso, Arms Folded, 1985. Courtesy of Pace Magill.
Their legs are offered to the viewer in a vase of shadow and stone. One kicks like a stem tilts. They are clearly angels’ legs, celestial dancers, moving on an axis of stilled time. So does Venus, emerging from cloth like a snake in a basket, her own snake and her own apple. Stiff dead Egyptians can be sexy, sensuous like a fossil with a heartbeat. The most overtly sexy female in her Empire recliner is more removed. Her chaise, like a vitrine, shows her off but it offers her less.
The landscapes are where the blackness lives in the photographs. The blackness has its own inner density, printed with absoluteness like a mezzotint. How can we get to the light when the darkness and weight are so inviting? The mossy fountain burgeons with life, a vanitas. The waterfall fountain is a thing unto itself like the Venus, its own dais and its own axis, turning almost imperceptibly. It spills to renew itself.
—April Gornik
Two black-and-white self-portraits by Claudia Hart, labeled “The Spirit of Humanism” and “The Spirit of Marxism.”
Originally published in
Linda Hunt, Alexander Liberman, art by Jeff Koons, John Baldessari, Barbara Bloom, and more. Cover art by James Nare.
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
