‘Exquisite Corpse’

Press, 15 June 1989, Page 25

‘Exquisite Corpse’

“The Exquisite Corpse” — works by Adrienne Martyn, Fiona Pardington, and Richard Reddaway at the Jonathan Jensen Gallery, until July 1. Reviewed by Pat Unger. Bodies, presumably stilled for ever, regain varying degrees of luminous life through the magic of silver print photography in a group show at the Jonathan Jensen Gallery. Three photographers perform this resurrection with skills that vary from insightful to fussing in overtime.

Richard Reddaway’s photomontage No. 11, "after Michaelangelo,” a pieta, contrasts substantiality of body (and suffering) and insubstantiality of cloth (and compassion) with dramatic restraint. No. 10, “after Bourdelle,” and to a lesser, degree No. 12, “after Michaelangelo,” are great examples of strength through firm editing. Again they show his feeling for geometric form and human posture.

Various man-made surfaces, in a series of “Surfaces” by Adrienne Mar-

tyn, are used to explore textures, edges and light/ dark tensions to advantage. Her couples, although presented well, don’t have the same impact.

Fiona Pardington’s “Sebastian” is cute. “Revenge,” an emotion directed at the man whose portrait is all but lost within a cardboard mock-up of tank retreads covered with net, buttons, feathers, shells, tacks and printed words such as “barb, venom and shiver,” is an example of punishment by distracting fuss.