Judy Pfaff, The Path to the Center Was Clearly Marked, honeycomb cardboard, pigmented expanded foam, melted plastics, fluorescent and incandescent light, 2012.
Judy Pfaff’s new sculptures, on view at Chelsea’s Ameringer McEnery Yohe Gallery, channel Lynda Benglis’s neon colors and puffy forms, Louise Bourgeois’ or Yayoi Kusama’s profusion of phallic protrusions, and the commanding presence of a more recent wall-mounted Frank Stella. Yet the profusion of optical seduction is typical Pfaff, as seen in pieces like ‘The Path to the Center was Clearly Marked’ (2012), an over 7ft wide tour de force created from honeycomb cardboard, pigmented expanded form, melted plastics, fluorescent and incandescent light. (Through November 10th.)
Merrily Kerr is an art critic and writer based in New York. For more than 20 years, Merrily has published in international art magazines including Time Out New York, Art on Paper, Flash Art, Art Asia Pacific, Art Review, and Tema Celeste in addition to writing catalogue essays and guest lecturing. Merrily teaches art appreciation at Marymount Manhattan College and has taught for Cooper Union Continuing Education.
For more than a decade Merrily has crafted personalized tours of cultural discovery in New York's galleries and museums for individuals and groups, including corporate tours, collectors, artists, advertising agencies, and student groups from Texas Woman's University, Parsons School of Design, Chicago's Moody Institute, Cooper Union Continuing Education, Hunter College Continuing Education and other institutions. Merrily's tours have been featured in The New York Times, Conde Nast Traveler, Sydney Morning Herald and Philadelphia Magazine.
Merrily is licensed by New York City's Department of Consumer Affairs as a tour guide and is a member of the International Association of Art Critics (AICA USA)
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