New York

Gerard Marx

Bertha Urdang Gallery

Gerard Marx calls his works “photo-constructs.” Formerly, these consisted of a beam or plank set on a photo-sensitive sheet of linen or masonite; this was then exposed to produce a white image, which of course bore a one-to-one relation to the wood. To complete the work, the sheet was tacked on the wall with the wood placed next to it. The technique of the new constructs is the same, save for one important thing: the image is no longer made by contact with the wood. A piece of cardboard, related in form to the piece of wood, now lays out the image. The work is still about opposition—positive versus negative, real versus illusory, objects versus spaces—but now, given the incongruity of the image and the wood, the opposition is more complex.

No longer a direct outline of the wood, the image seems a projection or extension of the wood. More often than not, it controls the relation of the two;

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