new-york

Polly Apfelbaum

Hirschl & Adler Modern

Polly Apfelbaum combines a Depression-era resourcefulness with an almost compulsive need to acquire material goods. Her witty, neo-Minimalist works are comprised of sera ps of crushed velvet, snapshots, pieces of felt, and bedsheets worn soft and thin that are dyed, chopped up, and reassembled into quilts or laid out in methodical rows, Victory Garden style. Apfelbaum’s most recent exhibition featured four series of works on paper and three stained-fabric constructions that sit somewhere between painting and sculpture, such as Ashes III, 1993–95, in which petals of velvet, sooty with ink, accrue in a pile.

It is these constructions that serve as mulch for her drawings, not vice versa. For example, the six collages of My Favorite Things, 1993, recycle surplus documentation of previous works and place them amid a confetti of marks that resemble burst ink-bubbles. Sliced and diced photographic

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