![]() ![]() ![]() The matte surfaces have a startling perfection that seems almost pliable, like fabric or flesh.īove’s manipulations of previous sculptors’ brands are homages of a sort. Each combines three or four tall slices of battered, hot-rolled steel with a long column of stainless steel - softly dented, twisted and painted bright orange. The black enhances the works’ contrast of raw and highly finished. ![]() The show consists of seven tall sculptures in a room painted black - a grove of dolmens as it were, happened upon at night. The works from her “Chimes at Midnight” series, which form her sensational show in Chelsea, deftly layer references to Richard Serra’s rusted hot-rolled steel, John Chamberlain’s crumpled car bodies and Donald Judd’s perfectionism as well as his signature color, cadmium red light, to name just the most obvious. WILL HEINRICHĬarol Bove continues to mess with the mostly male history of postwar sculpture. Comic but insightful, they’re like psychological portraits of Mackler’s own passing fancies. A supine mermaid lifts her tail in an aquatic yoga pose a jaunty little rooster boy, perched on a speckled rock, leans down and extends his wings as if finishing a magic trick. And of course there are several of the gestural, improvised characters she’s become known for. Half-open boxes with faces on every surface, they’re like little theaters of emotional turmoil. There are two slender figures, one with his arm outstretched, that bring to mind Giacometti, and two exceedingly strange ceramic dioramas. The work in her latest outing with the gallery, nine sculptures accompanied by three small paintings, is her largest and most confident yet. There she also met the artist Joanne Greenbaum, who put her in a group show at James Fuentes Gallery and introduced her to Kerry Schuss, the gallerist who gave her a long-overdue New York solo debut in 2013. In 1998, the year she retired, Mackler began making ceramics at Greenwich House Pottery, in the Village. She mainly depicted the female form, drawing it with big, wiry loops surrounded by coronas of bright color. But she kept at it, supporting herself with office jobs and painting and drawing on nights and weekends. at the School of Visual Arts - because, as she recalls, a gallerist told her a degree would help her show. Born in 1931, she grew up in New York and New Jersey, studied at the Art Students League in the 1950s and later got a B.F.A. It took Alice Mackler six decades to break into the gallery scene. Kerry Schuss Gallery, 73 Leonard Street, Manhattan. ![]()
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