New York

Marjorie Strider

Pace Gallery

The works of Marjorie Strider at the Pace Gallery give evidence of a “fresh and unspoiled” simplemindedness. She has a simple, factual imagination which, in the present exhibition, serves to bludgeon an all too familiar idea to death. The gambit: soft, burpy forms (clouds, for example) which give off one kind of information are superimposed with another order of information, say hard conflicting facts like window ledges. Conversely the soft is superimposed on the hard: rocks in the sea beaten by waves. Sometimes the superimpositions are of the same type—a pictorial projection of a bean pod on top of a 3-D bean pod. The superimpositions are effected by painting over real form or are diagrammed out, the drawing played off against its dimensional projection.

Strider’s starchy forms are carved out of styrofoam and covered with epoxy. These in turn are painted in fashionably hard and bright colors in conventional Pop representations. The artistic mentality is strictly ingenuous. One crater-pocked sphere, “View From Window, II” (with its requisite window frame painted on it), is flat on one side. A three-quarter moon, obviously.

The fief in question is a Disneyland staked out by Oldenburg. Strider is in his thrall. She is unable to break away, and probably doesn’t want to. Feudal allegiances always suit both parties. A real lord requires a real vassal.

Robert Pincus-Witten