Dan's Papers - August 15, 2008

The first thing that strikes this critic about The Parrish's current exhibit, "Sand," is how aesthetically connected it is to the last show, "Origami." The exibits both portray similar textures, physicality, and sensuality. And most importantly, both are archetypical. In the case of this exhibit, the archetypes extend beyond Jungian classifications based on myths and touch almost every level of human existence.

While this characterization may seem somewhat overblown, yours truly stands by the statement, nonetheless. As such, the show represents one of curator Alicia Longwell's best endeavors yet. The display's archetypical nature is established by a little-known film from avant-garde moviemaker Maya Deren called At Land (1944). Like her previous surreal, Meshes of the Afternoon, it's filled with symbols and metaphors derived from both Jung and Freud, the dream-like ambience and stream-of-consciousness evoking a female godess, arising from (and returning to) the sea. The sandy beach seems to represent the border between the sea and land, life and death, being and non-being. Other pieces fulfill diverse archetypical functions as well. For example, Richard Ehrlich's photograph, "Namibia Sand House," not only represents the shifting sands in the Namibian Desert, but also the endurance of nature over civilization.

Sand as media is also well-represented. The primitive meaning of sand helps reinforce the themes in Perle Fine's abstract work. Ernesto Neto's "Life That Spreads Out" is another example of sand which is incorporated into his sculpture; sand sprinkled on the work's tendrils give it substance and weight.

Dennis Oppenheim's "Reading Position for Second Degree Burn" uses sand as a literal "ground" (and canvas of sorts) on which a man is sleeping. One view shows the man with an open book on his body; in the bottom half of the work, he is lying barechested, exposed to the sun's rays. This combination of Earth, Body and Performance Art is fascinating, with the sand providing the common source from which all else is derived.

Sand is also used as a "playing field" in an equally intriguing work by an unknown artist. (The story goes that French captives created chess games to play on the sand in the British Isles during the Napoleonic Wars.) The elongated chess pieces are both elegant and simple, signifying "Everyman" who hopes for liberation. Sand provides the foundation for the beginning and the end of the captives' journey.

The exhibit "Sand" will be on view at Southampton's Parrish Museum until September 14. Call 631-283-2118 for more information.

Critic's Choice: Thresholds Of Visibility: Curated by Bonnie Rychlak at Surface Library Gallery