PRINT January 1988


THE MARK OF ZARINA is contemplative rather than emphatic, sensual but not theatrical, and it always sustains an impression of the earth. Zarina's subject is the earth, and one's identity on it. In her work these big, dumbfounding ideas are always brought directly home to the eye and the fingertip, where they find eloquence and gain a rare and pragmatic kind of currency: the work comforts.

Providing solace has not been a frequent or prominent mission in sophisticated art of the last two centuries. Making art must surely serve the needs of those who make it, and seeing art satisfies some yearning in those who pursue it most avidly, but the art— great and not—we've come to know best, and to recognize as part of ourselves, reflects our torments and our failures or gives us our grand ideals. Zarina does not engage monsters or shining visions. Nor does her work toy with ambivalence. She does not

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