New York


Marisa Del Rey Gallery

Arman is known for his assemblages—grand, collagelike works that look like orderly junk piles of the world’s remnants: spools of thread, typewriters, camera parts, all the pieces of a single smashed chair, and so forth. As a primary member of the Nouveau Réaliste movement of the late ’50s and early ’60s, Arman made works that were occasionally interesting and sometimes even enchanting, but in the short-lived period of French Pop art that followed, the works that he produced were simply anomalies. Here, in a return to the medium of paint for the first time in twenty years, Arman presented a baker’s dozen of flamboyant mixed-media paintings on canvas (all but one from 1987). Each of these works consists of scores of paintbrushes splayed across the surface of the canvas and jutting beyond its edges, the brushes fixed in place as if they were stuck at the end of the swaths of paint that they

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