Larry Krone at Mark Pasek Gallery
Larry Krone’s first New York solo in four years is about fashion and celebrity but with some refreshing zigs and zags. Mr. Krone’s sartorial passion runs to Stetson hats and chaps. His idols are the gods and ghosts of the Grand Ole Opry. Their lost-love laments thread through much of this inner- city cowboy’s work.
Needlework actually plays a significant role here. A mini-patchwork quilt has the artist’s name embroidered in pink and silver above the word “Crazy,” the title of one of Patsy Cline’s greatest hit, and a decal-size replica of a Jack Daniel’s label is stitched from silk thread and strands of human hair. Collage is important, too, from geometric abstraction pieces put together from bits of colored tape to a ropelike wall piece made entirely of rolled-up pages from “G.I. Joe” comic books.
Mr. Krone himself is something of a collage, as an artist, as a performer and as a personality projected through his art. He’s the Marlboro Man working as a seamstress; he’s Willie Nelson singing Tammy Wynette; he’s a folk art version of a stand-up comic. And many of his roles — aspiring star, adolescent jokester, frontier myth — come through in the show’s various self-portraits.
In a photograph titled “Self-Portrait (Sweaty),” he perspires glamorously in cowpoke drag. In “Self- Portrait With Wisdom Teeth,” he displays a gross-out mouthful of supplementary choppers. In “Me in Mylar,” his head is in silhouette on curtains made of tissue-thin Mylar strips. When all the strips are aligned, his profile looks like a John Wayne icon in reflective purple and green. But the image ripples apart at the slightest breeze coming in through the gallery door.
Mark Pasek Gallery
122 Suffolk Street (near Delancey Street)
Lower East Side
Through Dec. 10
Published in The New York Times
Friday, Dec. 1, 2000