At first glance, the work of Alicia McCarthy and Ruby Neri couldn’t be more different. McCarthy’s intersecting swaths of color, “weaves” as she calls them, are hypnotizing and prismatic, calling to mind 1960s Op Art. In contrast, Neri’s recent body of work is quite literally that: giant ceramic figures––mostly female nudes––in striking, even grotesque postures.
But, explains Apsara DiQuinzio, Modern and Contemporary Art curator at Berkeley Art Museum (BAM), the connections between their work are not always evident in what meets the eye.
Posted on May 24, 2018 - 3:06pm