new-york

Anne Eastman

ATM Gallery

Anne Eastman’s first solo exhibition in New York used mobiles made of wood, mirrors, and fishing line to ardently sample a range of early-twentieth-century art, from Russian Constructivism and Surrealism to the kinetic sculptures of Duchamp and Calder. She seemed particularly fixated on Moholy-Nagy: One work carried the lubricious title Oh! László, suggesting excitement or titillation. Its small Plexiglas mirrors, suspended within a black wooden frame, primarily offered fleeting reflections of gallery visitors. As in the rest of the show, Eastman’s modestly articulated take on abstraction and identity here proved more intriguing than her references to other art.

While Eastman’s exhibition was clearly inspired by art history, it was ultimately too timid to explore the ideologies that underpinned earlier practices. Gentle and genteel, it brought to mind the design aesthetic of the 1960s and

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