Paul Sharits (1943-1993)

            ARTS February, 1978

            p. 32

            LOUISE NEVELSON         Pace

            LES LEVINE                                    Anna Canepa

            LUDWIG SANDER             Rosa Esman

            PAUL SHARITS/

            AMERICAN FOLK ART   Droll/ Kolbert

            SMALL OBJECTS              Whitney Downtown

            EDWARD GIOBBI              Gruenebaum

By BARBARA CAVALIERE

PAUL SHARITS/ AMERICAN FOLK ART

Four whistling projectors cast

overlapping images of red,

blue, yellow, and green,

creating a continual environ-

ment of flashing, colored

light. Paul Sharits’ installation

invites the viewer into its en-

compassing aura; on walking

into the room, one enters into

the dreamlike atmosphere of

technicolor sound; one be-

comes the shadowy form of

self surrounded by the whir

and hue of infinite life in the

technology of the fascinating

cinema screen.

            One is jolted back into

another era upon entry into

the adjoining room of the

gallery. A number of fine ex-

amples of American Folk Art

of the 19^th and early 20^th cen-

turies point out another as-

pect of American culture. The

strangely alluring Folk Snake

(1840-50, wood) and Dragon

Figurehead (1880-90, wood)

with curling tongue of fire

seem mollified by time. An air

of poignant whimsy surrounds

the brush-bearded Tin Man

and the fanciful Whirligig

(1920, wood) held motionless

with its aged human teeth still

grinning menacingly. A grace-

full little Carousel Horse is ac-

companied by a wood and

metal Steam Tractor, reminder

of the gay-‘90s’ state of

technological advancement.

The juxtapositioning of past

and present made for an in-

teresting show, leaving one

with a whir of thoughts for

reflection during the holiday

season. (Droll/ Kolbert, De-

cember 6-31)