May, 2009

Anne Eastman’s first solo exhibition in New York used mobiles made of wood, mirrors, and fishing line to ardently sample a range of early-twentieth-century art, from Russian Constructivism and Surrealism to the kinetic sculptures of Duchamp and Calder. She seemed particularly fixated on Moholy-Nagy: One work carried the lubricious title, Oh! László, suggesting excitement or titillation. Its small Plexiglas mirrors, suspended within a black wooden frame, primarily offered fleeting reflections of gallery visitors. As in the rest of the show, Eastman’s modestly articulated take on abstraction and identity here proved more intriguing than her references to other art.

For the full review visit Lauren O'Neil Butler