Formal Comparison: Isa Genzken and Vasa-Velizar Mehic

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I think you could also categorize this as: “things you find in the library when you should be working on your thesis.” That aside, I thought this was a striking formal comparison between Genzken’s and Mehic’s work, although certainly serendipitous rather than evidence of a connection between the contemporary German artist and the older Yugoslavian aartist. Having recently seen the Genzken show at MoMA though,  it popped out at me.

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Isa Genzken’s building representing Berlin’s buildings made by leaning colored glass panes at MoMA’s current Isa Genzken: Retrospective. Part of her 2004 series “New Buildings for Berlin.”

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Vasa-Velizar Mehic’s Bouquet (1970) in the Belgrade Museum of Contemporary Art, found in a book in the library called The Museums of Yugoslavia, which dates it pretty clearly.

Kiki Smith at Pace Gallery

Lodestar, Kiki Smith’s current show at Pace Gallery in Chelsea, features paintings on glass panels in black metal frames, arranged as a grouping that tells of the cycle of a woman’s life. The images run from young to old to the encoffined, often posed alone or sitting. Images of a single tree and bare branch enhance the sense of isolation. The monochromatic palette has a milky glow and the etched and rough style creates an earthy rather than ethereal environment.


Certainly the grouping seen as a whole is more powerful than any one image. I wan’t sure I liked Smith, but walking through this exhibition yesterday felt contemplative and rather touching. Perhaps this was merely because there were few people around on a Wednesday morning, but I greatly enjoyed having the run of the place and appreciated her work the better for it.
Lodestar runs concurrently with Smith’s exhibition Sojourn at the Brooklyn Museum, but only through June 17–so hurry if you want to catch it.