TABLE OF CONTENTS

OPENINGS: DIANNA MOLZAN

Dianna Molzan, Untitled, 2009, oil on linen, 24 x 20".

Place: A drawing room.

Time: Right about now.

CYRIL: Ekphrastically, before taking up some of their core concerns (frame/picture, support/color, individuality/variety, expressiveness/reiteration—although they trouble any rote opposition suggested by the forward slash): Molzan’s paintings launch into a rousing version of “Dem Bones” as if covered by Bryan Ferry.

VIVIAN: Ekphrastically, really?

CYRIL: Why not? They eschew anyone else speaking for them. Like most compelling art, they’re already in advance of the broken arm of any possible philosophical systemization, which often ends up hobbling, crutches for a fit sprinter. Do I mix metaphors? Do I miss metaphors? Yes and yes. The paintings “articulate” quite particularly but also nonchalantly: voguing their structure, how they’re put together, their constitutive parts. For example, in Untitled (all works Untitled, 2009), the

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