![]() If there’s one isolated portrait that stands out from the rest this month, however, it must be AV Print’s Tár (limited, October 7). Everything is simultaneously absorbed and expelled from the page itself-the tactility of the print medium’s additive ink is on full display. I love the monochrome nature of the whole too with the text sometimes proving illegible depending on how dark the field is below. It’s a great scene of chaos mixed with serenity since her face seems calm and still rather than engaged in active movement. Not that we even need those bars at all considering how gorgeous that shot of Andrea Riseborough is with hair blown-out as though she’s touching an electrostatic orb. It’s playing with that style to deliver something else-equally idiosyncratic if less immediate. I can see the graphic capabilities of that diminishing field of bars at the bottom of the page if utilized by someone like Saul Bass to build tension and motion, even as the polished exactness here loses his sense of urgency. The sheet for To Leslie (limited, October 7) is an interesting one-it seems to want to split the difference between a modern poster and that from the era mentioned in the first critic quote: the 1970s. It teases in one dimension whereas the other teases in three. And while they do both work together as a sort of before and after diptych, seeing this one by itself paints her solely as the victim. By showing Galán opposite a man’s hand holding a knife, the numerous options piquing our curiosity evaporate. These questions are why I believe this US sheet is superior to the original Spanish one. ![]()
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