Dan’s Papers October 1, 2010 ARTS & ENTERTAINMENT danshamptons.com Page 58
ART COMMENTARY by Marion W. Weiss
Ibram Lassaw at The Drawing Room While East Hampton’s Drawing Room doesn’t resemble Ibram Lassaw’s studio in The Springs or a cave in Matera, Italy where his work was exhibited at the Museo della Sculura Contemporaneo in 2008, any showing of his pieces is an occasion for celebration.
This critic was a bit overwhelmed when seeing Lassaw’s studio a few years ago, and even when paying him a visit a year before his death in 2003. So many works, so many memories, all grouped together, waiting for Lassaw’s daughter, Denise, to sort everything out. The environment was oddly surreal; as was the experience. Even so, the artist’s description of his sculptures during a conversation was succinct (as his interactions always were), filled with comments that might be considered metaphysical specifically in reference to the cosmos. And why not? Such a delineation was perfectly appropriate. After all, Lassaw named many sculptures now in The Drawing Room exhibit after what could be star clusters and constellations, like “Callisto,” “Sothis” and “Serapis.” Looking back at two studio visits, it was as if this critic was a traveler in space, encountering configurations that were bombarding both the universe and the caller with mesmerizing and extraordinary
Ibram Lassaw, Nindar
Ibram Lassaw, Callisto
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visions. Which makes sense; Lassaw was a visionary, literally and figuratively. At The Drawing Room, we are not “bombarded” in any way, considering that there are few sculptures on view. But this perspective gives us a chance to appreciate Lassaw’s unique designs and structures. We note that there are no circular shapes; some forms resemble rectangles. Many do not recall any recognizable geometric configuration whatsoever. It’s interesting to wonder if these elements could exist separately as single sculptures like Lassaw’s necklaces. Lassaw pays strict attention to his single shapes, yet he knows the universe is composed of multiple entities working together: it’s the sum of the parts that counts both in the cosmos and in Lassaw’s sculptures. His works on paper are also special, but it’s the design, that is particularly arresting. Such patterns also relate to the universe, evoking movement and rhythm that is not as obvious in Lassaw’s sculptures. The forms themselves, like the sculptures, are unusual and non-geometric, done in both color and black and white. As viewers, we can’t help but see realistic images at play: a cityscape, insects flying through space, aliens from outer space. It’s unlikely Lassaw had these visions in mind, but we can’t be absolutely sure. We welcome this current exhibition (and the upcoming one at The Museum of Modern Art, “Abstract Expressionist New York,” featuring Lassaw’s work). Our only suggestion is that all the works on paper presently at The Drawing Room be in the same space; some are in the back room and not arranged to best advantage. Ibram Lassaw’s show will be on view at East Hampton’s Drawing Room through Oct. 11, although it is due to be extended. 631-324-5016 CRITIC’S CHOICE: Artists Make Movies will feature the film, Silent Sentries, by artist Jane Martin on Oct. 1 at 7 p.m. at the Pollock Krasner House. 631324-4929