Page 68 - Studio International - June 1966

Turning now to the more sensational, there is Paul
Thek's exhibition at the PACE GALLERY. This gallery
seems to excel in packaging and has a weakness for shiny
surfaces and glitter. Even Paul Thek's essential materials—
the convincing replicas of raw meat and what appear to
be sheeps' hearts — are neatly packaged in plastic and
formica. One of his specimens is even embedded in a well-
crafted formica casket. Another is boxed as a triptych
with neat shiny walls. The pieces of meat are enclosed in
transparent plastic, which is mockingly constructed as
though it were a constructivist sculpture.
Needless to say, whatever shock value Thek's imitations
of bleeding flesh once had is swept away by the anti-
septic packages in which they are rendered. Thinking only
of the expense of having these things fabricated gives one
pause. To what end? I can see none. Nor can I see much
value in Thek's forced collages and wall constructions
with their pale echoes of Ionesco (rhinoceros obsession)
and silver sprinkles. Here technology doesn't help; it
merely renders the whole endeavour absurd.
Marisol has come around again to the JANIS GALLERY,
peopling it with her auto-discursive fantasies. Now she
has a party going, with wooden effigies carved and con-
structed, all bearing either photographic or life-mask
replicas of her own face, and in one instance including an
expensive baby television machine serving as a stream-
Paul Theck Untitled 1966
of-consciousness. She has a real presence, has Marisol, Wax 8+ x 7+ x 15 in. Pace Gallery

Marisol The Party 1965-6 Marisol Untitled
Mixed media Janis Gallery Mixed media 14 x 11 in. Janis Gallery