new-york

Peter Agostini

Radich Gallery

“Drawings and Small Sculptures from the ’40s to the Present” is an exquisite exhibition that does not attack a survey of Peter Agostini’s sculptural contributions on an ambitious scale. Economic and organizational problems forestall such an examination to a later time. The Radich installation focuses instead on the small product, the clay statuette, the overlooked plaster, the small bronze, and, most importantly, a broad run of drawings which traces Agostini’s, many felicitous alterations of the Surrealizing Expressionist style, developed here during the Second World War. In the earliest work, one recognizes a young sculptor’s dependency on the graphic models of the late 17th century, particularly in the choice of cross-hatched chiaroscuro modulations and in terms of a fascination with the artist’s self-portrait. These accomplished drawings are accompanied by two heads, one still in plaster,

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