New York

Marilou Levin

Silverstein Gallery

Is it possible to redo Surrealism after feminism? And if so, is it worth the doing? Marilou Levin, a young Israeli artist having her first major international exposure with a selection of works dating from 1995 to the present, seems to suggest that it is, with works that combine Man Ray’s estrangement of banal objects and Magrittean pictorial displacement. Maybe the reason Breton’s boys’ club has inspired a surprising number of women artists is that they’ve noticed implications in Surrealist imagery that signify differently through female eyes. Take Man Ray’s iconic Cadeau, 1921, for example: What could be a more pointedliterallyimage of the conjunction of domesticity and aggression than the famous flatiron bristling with nails? The idea of amplifying its possible feminist implications may be just too good to resist, especially with domesticity’s postmodern recrudescence (vide: Martha

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