New York

Giuseppe Gallo

Sperone Westwater

Giuseppe Gallo’s pictures and sculptures have that air of morbid fragility, of esoteric irony, that we have come to expect from artists of the School of Rome. What makes Gallo’s works exceptional is the air of isolation that permeates his scenes and objects. It is not the morbidity itself that matters—that quality is evident even when the works blaze brightly, for the artist’s quasi-ecstatic use of color has to it the phosphorescence of a decaying infinity, the burst of color of a star that has exhausted its absoluteness—but the way it qualifies whatever is located within it. Through its mannerist elongation, the cast-bronze spoon of Untitled, 1989, seems to live its isolation, to breathe its aloneness. Similarly, Saturno, 1989, also of bronze but with a chromatic patina, exists in the absolute integrity of its aloneness, and the painting Untitled (Diptych), 1989, which seems lifted from

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