reviews

View of “Mary Beth Edelson,” 2013. Foreground: Fire Altar, 1973. Background, from left: Passage Series: Two Clouds, 1972–73; Passage Series: Dawning, 1972–73; Passage Series: Night Passage, 1972–73.

Mary Beth Edelson

The Suzanne Geiss Company

View of “Mary Beth Edelson,” 2013. Foreground: Fire Altar, 1973. Background, from left: Passage Series: Two Clouds, 1972–73; Passage Series: Dawning, 1972–73; Passage Series: Night Passage, 1972–73.

“We are only lightly covered with buttoned cloth; and beneath these pavements are shells, bones and silence,” Virginia Woolf writes in The Waves, 1931, her famously elusive novel in which multiple narrative voices intertwine to form a collective consciousness. It’s an apt description of Mary Beth Edelson’s exploration of the collective unconscious in the terrific “22 Others, 1973”: What do we make of images that keep coming to us, and how do we make ourselves continue to see new things, even forty years on?

“22 Others, 1973” re-presents most of the art from a 1973 show held at the Washington, DC, venues the Corcoran Gallery, Fletcher’s Boathouse, and Henri Gallery that was among the first major exhibitions of Edelson’s art. Inspired by a five-year Jungian reading seminar and a desire to expand her material practice, Edelson in 1971 asked twenty-two friends and colleagues to provide

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