PaperCity Magazine

December 2018- Houston

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70 JENNY ANTILL CLIFTON T el Aviv-born Ori Gersht employs an unorthodox practice to create his still-life photographs — one that involves an air rifle. The London-based lensman debuts at Talley Dunn Gallery, where his post-modern still lifes are based on re-creations plumbed from art history — think Chardin, Zurbarán, and Morandi. As such, Gersht is completely in step with a long line of artists who have dialogued with the past, from John Singer Sargent to Roy Lichtenstein and Picasso, and recent talents such as Sharon Core, who also works in the still life tradition. But Gersht's photography possesses a perilous element: Appearing to deconstruct before our eye, these images nonetheless maintain a beautiful allure. Ripe, gleaming fruit, the pristine surfaces of a teapot ornamented with dainty flowers, although exploding, and a lineup of beautiful bisque vases that shatter like the destruction of an atom. A fitting metaphor for our times, indeed. "Ori Gersht: New Orders," at Talley Dunn Gallery, Dallas, through January 19; Catherine D. Anspon J ill Brown's eponymous design store serves up a repast of culinary still lifes. The suite of three, in autumnal colors, were sourced from Belgium. Painted in a primitive Fauvist style, these canvases date from the 1960s. Acquire the set, and hang them salon style, in your chateau or farmhouse kitchen. $750 each, at Brown, UNSTILL LIFE FAUVIST FLAVOR COURTESY THE ARTIST AND TALLEY DUNN GALLERY Ori Gersht's New Orders 04 - Untitled 02, 2018, at Talley Dunn Gallery, Dallas COURTESY THE ARTIST AND TALLEY DUNN GALLERY Ori Gersht's Ever Time 05, 2018, at Talley Dunn Gallery, Dallas PEARed UP ART + DECORATION JENNY ANTILL CLIFTON Cement pears, $5 to $6, at Lam Bespoke, Fauvist-style still life painting from Belgium, circa 1960s, at Brown

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