Bunnies in the Lily Pond: E.V. Day and Kembra Pfahler at Giverny » E.V. Day and Kembra Pfahler, Untitled 21, 2012. Archival photographic print mounted on sintra, edition of 3. 45 x 60 inches. Courtesy of The Hole

E.V. Day and Kembra Pfahler, Untitled 21, 2012. Archival photographic print mounted on sintra, edition of 3. 45 x 60 inches. Courtesy of The Hole

E.V. Day and Kembra Pfahler, Untitled 21, 2012. Archival photographic print mounted on sintra, edition of 3. 45 x 60 inches. Courtesy of The Hole


  • http://www.facebook.com/profile.php?id=100003454975392 Rubens

    Without seeing more than just the imegas excerpted in this review, I can’t say I’m transported by Heather Benjamin’s work, but it is graphically striking, and I like it much better than Aubrey Beardsley’s work. (Well, to be frank, I don’t like Beardsley’s work at all.) If I saw this in a store I’d certainly pick it up and page through it. Maybe I’d even buy it. (That’s how I discovered Joe Coleman, way back in 1982. I wandered into the Eastside Bookstore on St. Mark’s Place in NYC and this weird big magazine was displayed on the table with a strange awkward painting on the cover. I picked it up and paged through it. Inside, the black and white pen and ink artwork of what turned out to be a large, self-published (?) comic book electrified me, shooting bolts through me. I bought it immediately. The book was THE MYSTERY OF WOOLVERINE WOO-BAIT.)