new-york

Cheryl Goldsleger

Bertha Urdang Gallery

That Cheryl Goldsleger’s deserted architecture is a kind of grand world theater is certainly suggested by the amphitheater in Vortex, 1993, and by its equally grandiose, engulfing form in the other charcoal drawings presented in this show. In a world theater, the actors are all tokens of fate, just as the scenery is cosmic and stark, seemingly inevitable. Though full of the signs of human presence—chairs scattered as though people had just got up and left the scene—the actors are never present, rather, the architecture itself becomes the actor. This architecture is dramatic in itself, not only because of its bizarre structure—an eccentric composite of columns without capitals, walls that do not form rooms but arc aligned with each other like monumental Minimalist sculptures, opaque exits and entrances—but also because of Goldsleger’s brilliant chiaroscuro, sometimes stark, sometimes more

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