new-york

Patrick Jackson

Nicole Klagsbrun

Patrick Jackson’s “Tchotchke Stacks,” 2010, comprise just that: stacks of trinkets separated by sheets of glass in five, six, and seven layers. Each layer holds just four trinkets, some on little mirrored pedestals that equalize their varying heights, and this generous spacing, plus the invisible glass and mirrored boxes, makes them appear to float.

These figurines, models, souvenirs, and statuettes, which the artist buys at thrift stores, seem to be arranged with studied randomness, as if to express the very variety of the medium: Michelangelo’s David appears multiple times, as a bust and in full figure, along with big-eyed children, praying hands, classical busts, mothers and children, ladies and gentlemen in Regency dress. The favored mode is a kind of cartoonish realism, although a style that tilts toward expressionist is occasionally represented (as, for instance, by a twisting figure,

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