ROUND-UP September 26-October 10, 2019

"The clichéd dichotomy of rational masculinity versus irrational femininity is winningly, defiantly drawn out to its logical aesthetic conclusion, with ‘Obsidian Ladder’ showing us that both can coexist within the same space—within the same world."
"The most fascinating aspect of Sara Berman’s Closet, however, is neither the particularities of her story on its own nor any individual item or work of art on display, but rather its presentation as a continual mythologizing of a very real person’s life."
"A mysterious, faceless figure smeared with blood is depicted at bust-length in a suit, presented against a pale blue ground. Only the forehead, ear, chin, neck, partial cheek, bottom lip, and brows are visible—the eyes, nose, and top lip are replaced with a sepia-hued photograph of a pair of legs moving on tiptoe, as if in the middle of a dance step. Meanwhile, there are traces of thinly-applied red paint on the chin, lower lip, and elsewhere on the pockmarked peachy skin of the figure’s face. This painting, To Paul, is part of Llyn Foulkes’ “Bloody Head” series of the 1970s and 1980s..."