New York


Sidney Janis Gallery

In Marisol’s sculptures as in Polke’s paintings, things will not stay put, but her rebellion reflects a kind of physical revulsion to restraint rather than an intellectual and spiritual unrest. The protest of her pieces seems almost to be wrenched from them against their will. Unruly by nature more than on principle, they will not tolerate restraint; the most refined sort of drawing inevitably pops into the most rambunctious, obnoxious, full-bodied kitsch. Marisol’s sarcasm, unlike that of Red Grooms, is incomplete, alloyed with longing. Grooms’ rejection is clear and unmistakable; Marisol’s, more subtle to begin with, is mixed with a desire to have what she ridicules, so that the pieces may convey a sense of working against their own best interest. Marisol scorns the grandiose; a bronze tableau here shows culture (as represented by Mark Twain) dwarfed into a caricature of Napoleonic

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