New York


Sidney Janis Gallery

In a sense Marisol resembles Acconci in her exposure of private secrets in public. But her revelation-exploration of self centers around a more traditional notion of personal fantasy rooted in the Surrealist world of dream imagery and symbolic content. She is less the performer, more the shaman. Her ceramic masks, for example, are less those of persona, more archetypal emblems, ceremonial faces for a mysterious female rite. Ear Earrings. Flesh-colored clay baked into the oval of a gazing visage. The earlobes hanging like jewelry from the sides. And stringing, weighted below, a necklace, two breasts and the circle of belly with navel. Veil. The countenance projecting out from a mounded terra-cotta headdress, hidden behind the bundles of wig-hair which stem from its surface. And on the sides, haloing the face, etched in the clay, the biographical statistics (my family is from New York, my

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