(The piece is on loan from the Solomon R. There’s his colorful blown-glass sculpture of the Hindu goddess Shiva, laced with visual nods to Josephine Baker and Carmen Miranda. The show also samples generously from Patkin’s earlier work, including startling mixed-media essays that seem to overflow with intertextual references. (Ali is buried in Northampton in his final years, he was director of the MFA program in creative writing at the University of Massachusetts-Amherst, among other academic posts.) Up to 25 feet long, each is a panel in a wrap-around mural inspired by the poetry of Ali, who was a finalist for the National Book Award in poetry the year of his death. The centerpiece of the exhibition at Mass MoCA is a suite of new works - five “rooms,” each formed by four hanging sheets of bridal illusion fabric, the stuff of wedding veils. “I just sat in the garden and started taking to the ghosts.”
“It wasn’t a decision,” he says of his inward move. Patkin quietly dropped out of the art scene, retreating to the sanctuary of his rambling East Village apartment and studio, an urban oasis hewed from a former vocational school.
He’d been a busy art-maker on the rise after moving to the United States in 1977, seeing his work collected by the Whitney, New York’s Museum of Modern Art, the Los Angeles County Museum of Art, and other resume-sweetening institutions.īut shortly after the 9/11 attacks, he was stunned by the deaths of several people close to him, all within a year: his father, his best friend and her husband, his longtime art dealer and confidante Holly Solomon, and the Kashmiri-American poet Agha Shahid Ali, with whom he’d struck up a deep friendship and creative collaboration. (A co-presentation with the Tel Aviv Museum of Art and the Open Museum in Tefen, Israel, it appeared overseas in bifurcated form in 2012.) It’s also the public’s first extended look at the work Patkin, 58, has quietly created throughout a decade of relative silence. This is not only the largest exhibition yet assembled from Patkin’s flamboyantly eclectic mixed media works.
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1 at Mass MoCA, caps a return from the shadows for this artist, whose early breakthroughs included a full gallery devoted to his attention-grabbing paintings on black neoprene curtains at the 1987 Whitney Biennial. “Izhar Patkin: The Wandering Veil,” on view through Sept. Patkin appears to have taken his experience in stride, and he has a dramatic new tale to tell. It fits that his recent work displays an ever-present awareness of death, tinged with darkly cheeky gestures. And his thoughtful, even brooding exterior can lighten quickly for a sarcastic aside or a quick burst of self-consciousness. COINCOST is in no way related to the cryptocurrency Museum of Crypto Art, its developers and representatives.For Patkin, musings on eternity mix easily with talk of his show’s details.
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