This week in Newly Reviewed, Martha Schwendener covers Sylvia Plimack Mangold’s subtle humoramz slot, Jack Goldstein’s audio works and Pippa Garner’s gadgets.
Upper East Side
Sylvia Plimack MangoldThrough Jan. 25. Craig Starr Gallery, 5 East 73rd Street, Manhattan; 212-570-1739, craigstarr.com.
Thursday’s dramatic events began with the startling sight of federal agents marching into Gracie Mansion, the official residence of New York mayors since World War II. And shortly before noon, prosecutors unveiled the first federal indictment in the city’s modern history of a sitting mayor.
But as global health officials gathered at the United Nations on Thursday to discuss the challenges posed by antimicrobial resistance, many have been promoting a more expansive understanding of the problem. It’s one based on preventing treatable infections through improved sanitation, higher vaccination rates and increased access to anti-infective drugs in lower-income countries.
ImagePop Art and Minimalism emerged in the 1960s with a common focus. Deadpan and literal, these movements rejected the exuberant expression and mythological references of previous generations of artists.
Sylvia Plimack Mangold’s photorealistic paintings of rulers, measuring tapes, gridded paper and floor tiles in “Tapes, Fields, and Trees, 1975-84” at Craig Starr are about as banal and literal as it gets. And yet, there is a subtle humor in the seriousness and virtuosic precision of how she approached these seemingly absurd tasks.
“Painted Graph Paper” (1975) is exactly that: an exact rendering of gridded paper, a favorite medium of artists working in what the art historian Benjamin Buchloh famously called the “aesthetics of administration” reflecting bureaucracy and institutions in post-World War II society. “Taped Over Twenty-Four-Inch Exact Rule on Light Floor” (1975) is an acrylic-on-canvas painting that faithfully depicts industrial beige floor tiles and masking tape surrounding them. “A September Passage” (1984) seems to break from the office or factory world, featuring a clump of trees in a meadow. Even here, however, there is a postcard brightness to the scene, rather than, say, a landscape lit to induce romantic reverie.
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