would be difficult to find a more likeable couple, and the
fact that they have wide-ranging tastes makes the experience
thoroughly enjoyable. Along with Cindy Sherman, Lisa Anne
Auerbach is another artist that the couple acquired through
Gavlak. The latter’s work is a knitted Merino wool piece that
pays tongue-in-cheek homage to pop star Michael Jackson.
The front reads: “Exit light / Enter night / Take my hand
/ to NEVER / NEVER LAND.” The backside pictures a
line drawing of Mr. Jackson’s well-documented surgically
enhanced face, minus a nose. Dianne smiles and points to
it, saying, “There’s no nose because, well, you know, he didn’t
have one.” True. While this isn’t wholly politically correct, it’s
refreshingly candid and uttered with sparkling humor.
Yet more pieces purchased from Gavlak Gallery are
two works by Alexsandra Penney, The Intimate Life of Shoes
and White tulle doll. Both are large archival pigment prints
featuring, well, blow-up dolls. The kind found in sex shops.
I guess. I haven’t had occasion to purchase one. Dianne casts
a sidelong glance at me and says, “These aren’t pornographic
at all. I don’t like pornography.” She clutches her hand to her
chest and I have to nod in agreement. They aren’t lascivious;
one has an almost comic-book quality and the other could
be part of a cover for a Raymond Chandler novel. Why I
make note of these things, I have no idea. Except to point
out that they are definitely not pornographic. A little research
reveals that they are part of a series called The Love Dolls and
are described as “a visual report on the role of women and
consumerism.” Ms. Penney also wrote a highly successful
bestseller entitled, How to Make Love to a Man, and I laud her
artistic prowess as well as her deft ability to multitask.
Yet another find located via David Quadrini is Kristen
Callabrese’s Mirror, Mirror on the Wall, an oil-on-canvas work
that was completed in 2003. It depicts a wood grain pattern
that could easily be construed as a shape that mimics eyes
and feminine genitalia. If so inclined, one can also spot a
partner holding hands with the aforementioned shape that
drifts off towards the right edge. Or it could be none of
the above. It operates as a kind of psychological Rorschach
test and you’re likely to be greeted with your own psychic
phenomena staring back at you. “Mirror, Mirror,” indeed.
Another piece, Night Sounds by Jose Alvarez exhibits
nearly the same brand of pleasing dark blue found in El
Greco’s Toledo, although that may be more imaginative
conjecture than fact; nonetheless, it glistens softly with a
glamorous sheen. It’s a small, less ambitious piece than many
Top: Alexis Marguerite Teplin, Cape, 2010, oil on linen, 67 x 95 in.; Right wall: Yek, Juice,
2000, acrylic, latex, and enamel on panel, 30 x 30 x 3 in.; Margaret Evangeline, Luminista
#4, 2003, electro-polished stainless steel with gunshot and porcelain, 42 x 42 in.; Bottom:
Tony Matelli, Weed (Dandelion), 2008, painted bronze, 9 x 18 in.