CFM
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Lisa Lichtenfels: Hyperrealism Made Mythic Surely new standards for art world hype were set last year, when private
art dealer Philippe Ségalot hired celebrity hair stylist Frederic
Fekkai to style the wig on Italian artist Maurizio Cattelans hyperrealist
sculpture of model/actress Stephanie Seymour before it was photographed
for the cover of an auction catalog. That Fekkai happens to be the real
Stephanie Seymours hair dresser, of course, only adds to the absurdity
of a work of art being primped as if for the Academy Awards. Long before
Cattelan made news with his gussied-up effi gy, the American fabric
sculptor Lisa Lichtenfels created 3-D portraits of Barbra Streisand
and Demi Moore so eerily lifelike as to quicken the That Lichtenfels transcends the People magazine mentality of Cattelan
and others who pander to the disposable values of celebrity culture
is made especially clear in her sculpture
Lon Chaney, depicting the silent screen star whose best
known characterization, The Phantom of the Opera, demonstrated
his artistry as makeup artist as well as an actor. Indeed, her portrait
pays tribute to The Man of a Thousand Faces primarily as
a fellow visual artist, showing him seated and holding a make-up brush
like a cigar, beside the somewhat gruesome-looking models for two of
his characters, propped up on his workbench like severed heads. Commenting
affectionately on the piece in the text of the exhibition catalog, the
sculptor evokes something of Norman Rockwells Americana when she
likens the actor to her engineer father, saying, Both had very
rough lives but forged honorable careers. They were both of a certain
generation of men ... You dont see faces like those any longer. To a dispassionate observer, however, with his thinning, slicked-back
hair and wolfish grin, Chaney could resemble Jack Nicholson playing
a period serial killer showing off a couple of his trophies. In any
case, much to Lichtenfels credit, the mood smacks more of Day
of the Locust than Entertainment Tonight. For it is
this subtle sense of weirdness at the heart of the ordinary that lends
her pieces their sharp contemporary edge. Then again, several
things set Lichtenfels work apart from that of other hyperrealist
sculptors of recent vintage. For one, her figures are created from scratch,
rather than cast from living people in the manner of George Segal or
Duane Hanson, which gives them a subjective expressive dimension that
probes beyond surface appearances. For another, most of her contemporaries This is especially striking in full-length nudes such as Grace, (See Below) based on one of photographer Eadweard Muybridges late 19th century motion studies, and Dual Nudes, where the warmly contrasting skin tones of a blond Venus and her dusky lover make for an engaging erotic frisson. One of the most ambitious pieces in Lichtenfels new solo show, however, is Check Out,(See Above) a remarkable installation/ diorama inspired by an imaginative mental merger of the young barmaid in Manets masterpiece Le Bar aux Folies-Bergères and a weary check-out girl that the artist observed in a local supermarket. As in the best large scale environmental works of Red Grooms, the action in Check Out fans out around this central fi gure to create a theatrical tableau comprised of diverse types. Those familiar with Manets painting, with its elegant nightclub setting of champagne bottles, crystal chandeliers, and sophisticated revelers refl ected in shimmering mirrors, will relish the witty transformation Lichtenfels has wrought here, where the stark fluorescence of a tacky modern convenience store replaces that genteel Proustian atmosphere. This banal setting is evoked in minute detail, right down to the subtly altered product labels and the wittily parodistic cover photos on the check-out counter magazine rack.
And it is her ability to ignite this vital spark that
makes it possible for her to impart a sense of immediacy to even mythic
characters such as Falling
Angel and Livia.
Perhaps the winged being plunging like Icarus (an effect achieved by
balancing the figure on the pedestal by the point of its elbow) gains
some of its poignancy from the fact that its face was inspired by a
news image the artist once saw of a Bosnian refugee. On the other hand,
one might not be eager to meet the model for Livia Drusilla (58 BCE
to 29 CE) the most powerful woman of the early Roman Empire.
For here, as Lichtenfels depicts the gowned seated figure, perched like
an elderly eagle on one of those little antique Roman benches between
classical columns, is a formidable matron indeed. Her gaze, fierce and
piercing under bushy white brows that the sculptor has fashioned thread
by minute thread, is captured so compellingly as to leave no doubt as
to why she was considered fully as formidable as her husband, Emperor
Caesar Augustus. Whether depicting a native maiden in the Yukon,
holding an ice-cream cone; a slender flapper
perched on a stool like a coy Art Deco arabesque; or an old-fashioned
nightclub cigarette girl with
a platinum Harlow bob and short skirt, displaying her tray of Camels,
Luckie Strikes, Chesterfields, and Old Golds, Lisa Lichtenfels evokes
people of various places and periods with a wit and empathy all but
extinct in the art of our century. It is for its humane qualities, as
well as its technical profi ciency, that her work shows every promise
of enduring into an age more aesthetically enlightened than our own. |
Exquisite
technique coupled with artistic vision defines our user-friendly presentation
of figurative fine art paintings, sculptures and original graphics. Contemporary
symbolism at its apex in the traditions of Bosch, the Italian Renaissance,
Art Deco, Art Nouveau, the Viennese and German Secession and the symbolist
movements with an edge of surrealism. |