new-york

Andrea Vizzini

Marisa Del Re Gallery

It’s a slaughter of the innocents! In his new paintings, Andrea Vizzini rounds up some of the greats of art history without much pretense of due process. In Copertura (Cover-up), 1989, Albrecht Dürer’s glorious self-portrait as an elegant young Venetian is hidden behind a frame that’s bolted like a prison door. It’s been reproduced on a fragment of canvas, the colors leeched, and casually attached to a board as though it were an old pinup. In an untitled 1996–97 painting, a real pinup, Titian’s Venus of Urbino, suffers a similar fate. The goddess’ lower half is covered by a huge white triangle, and half of her face is veiled by a parallelogram; a vertical white rectangle completes the obliteration. Implicitly, the canvas is returned to emptiness, and Venus’ seductiveness is destroyed by analysis.

Again and again Vizzini works over old masterpieces, doing a number on Titian’s Bacchus and

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