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by Nastia VoynovskayaPosted on October 1, 2014

Carl Krull’s drawings have a visceral appeal. Each of his works is composed of horizontal lines that start out parallel and wrinkle somewhere in the middle, yielding figures as if out of some primordial mass. Sometimes the forms he draws are hardly distinguishable from one other. The eye attempts to untangle his orgiastic cacophony of limbs and biomorphic shapes as if they were some strange riddle. On September 27, Krull debuted his solo show “Seismic” at V1 Gallery in Copenhagen. The pieces evoke both the smooth grooves of cliff sides and the monochromatic markings of seismographs. By setting restrictions on his process (he seems to refuse to take the charcoal off the paper until it has crossed from one side to the other), Krull captures the quality of geological formations and invokes themes of creation and mythology.

Carl Krull’s “Seismic” will be on view through October 25. Photos by Henrik Haven.

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Gertrude Käsebier: Evelyn Nesbit, 1902

In all its simplicity, this photo of a young Evelyn Nesbit shows Käsebier’s quality as a portraitist: it’s both dreamy and direct, posed and natural. It seems to contain the essence of adolescence: Evelyn looks at ease, aware of her beauty, while the road ahead of her is still unknown. She has the irresistible combination which puts fear into a mother’s heart and makes men lose their heads: she’s sexy and innocent at the same time. In Evelyn’s case, sadly, this would indeed prove to have fatal consequences when her husband shot a well-known architect and former lover in a jealous rage. 

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