{"id":1249,"date":"2009-11-05T23:24:57","date_gmt":"2009-11-06T07:24:57","guid":{"rendered":"http:\/\/www.artsjournal.com\/anotherbb\/wp\/2009\/11\/karen_sargsyans_scrap_baroque\/"},"modified":"2009-11-05T23:24:57","modified_gmt":"2009-11-06T07:24:57","slug":"karen_sargsyans_scrap_baroque","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/anotherbb\/2009\/11\/karen_sargsyans_scrap_baroque.html","title":{"rendered":"Karen Sargsyan&#8217;s Scrap Baroque"},"content":{"rendered":"<p><a href=\"http:\/\/www.nytimes.com\/2009\/05\/03\/nyregion\/westchester\/03artwe.html\">Karen Sargsyan<\/a> would rather sing than be a visual artist, thrilling opera houses with his baritone, or maybe dance, leaping across stages as if his body were spring loaded. Were he given the chance, he&#8217;d have checked actor before artist, imagining himself staggering across simulated moors in Lear&#8217;s mad scene. <\/p>\n<p>Alas. His theatrical heart can find expression only through the work of his hand. In that hand is a scissors. <\/p>\n<p><img loading=\"lazy\" decoding=\"async\" alt=\"karensargsqueenking.jpg\" src=\"http:\/\/www.artsjournal.com\/anotherbb\/karensargsqueenking.jpg\" class=\"mt-image-center\" style=\"margin: 0pt auto 20px; text-align: center; display: block;\" height=\"340\" width=\"486\" \/>The queen flings her arms out in a slow-motion, dying fall, ignored by her rotund consort in the corner who prefers the company of his jester. <\/p>\n<p>Now at <a href=\"http:\/\/www.ambachandrice.com\/home2.html\">Ambach &amp; Rice<\/a>, Sargsyan&#8217;s <i>Abroad Understanding<\/i> was created at the <a href=\"http:\/\/www.peekskillhatfactory.com\/\">Hat Factory<\/a> in upstate New York and exhibited earlier this year at the <a href=\"http:\/\/www.hvcca.org\/\">Hudson Valley Center for Contemporary Art<\/a>.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" alt=\"karensargsyanblod.jpg\" src=\"http:\/\/www.artsjournal.com\/anotherbb\/karensargsyanblod.jpg\" class=\"mt-image-center\" style=\"margin: 0pt auto 20px; text-align: center; display: block;\" height=\"338\" width=\"477\" \/>Sargsyan was born in Yerevan, Armenia in 1973 and lives in Amsterdam. At a time in which young artists are increasingly disinclined to commit to a single medium, Sargsyan has thrown his all behind heavy-stock paper, which he cuts into frenzied form and hangs on metal armatures, just as his Netherlands colleague, <a href=\"http:\/\/www.jamescohan.com\/artists\/folkert-de-jong\/\">Folkert de Jong<\/a>, focuses on painted Styrofoam. <\/p>\n<p><img loading=\"lazy\" decoding=\"async\" alt=\"karensargsscream.jpg\" src=\"http:\/\/www.artsjournal.com\/anotherbb\/karensargsscream.jpg\" class=\"mt-image-center\" style=\"margin: 0pt auto 20px; text-align: center; display: block;\" height=\"342\" width=\"479\" \/>What Boccioni achieved in 1913 <a href=\"http:\/\/en.wikipedia.org\/wiki\/Unique_Forms_of_Continuity_in_Space\">with bronze<\/a>, Sargsyan updates and transforms with flimsier materials. Motionless, each of his figures is in motion, layered into a series of messy tableaus. As his figures are nothing more than large paper dolls, they should be trivial, but the elusive themes they sound are profound. <\/p>\n<p><img loading=\"lazy\" decoding=\"async\" alt=\"karensargsmandog.jpg\" src=\"http:\/\/www.artsjournal.com\/anotherbb\/karensargsmandog.jpg\" class=\"mt-image-center\" style=\"margin: 0pt auto 20px; text-align: center; display: block;\" height=\"346\" width=\"462\" \/>Through November 28. Ambach &amp; Rice is expanding the idea of what a gallery can be in Seattle, not just a commercial space but an art center with a global reach. <\/p>\n","protected":false},"excerpt":{"rendered":"<p>Karen Sargsyan would rather sing than be a visual artist, thrilling opera houses with his baritone, or maybe dance, leaping across stages as if his body were spring loaded. Were he given the chance, he&#8217;d have checked actor before artist, imagining himself staggering across simulated moors in Lear&#8217;s mad scene. Alas. His theatrical heart can [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[1],"tags":[],"class_list":{"0":"post-1249","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-uncategorized","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts\/1249","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/comments?post=1249"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts\/1249\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/media?parent=1249"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/categories?post=1249"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/tags?post=1249"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}