Does That Make Sense?—an beautiful exhibition of Marshall Arisman’s uncommon prints, drawings and work—is a testomony to how his legacy resonates. I urge you to see it at SVA’s Gramercy Gallery (209 E. twenty third St., New York Metropolis). The work is on the market to learn Arisman’s scholarship fund. Right here is my preface to the exhibition memento.
Marshall Arisman was the soul of the College of Visible Arts—its conscience and compass and trickster and conjurer, an artist who impressed others to seek out themselves, as he discovered himself, in their very own method and time by means of their very own means.
Though his coronary heart stopped immediately one sunny spring morning, his aura continues to glow.
His legacy shouldn’t be his massive physique of labor however the rays of sunshine shining by means of that work, from monumental canvases to ephemeral scraps and sketches.
He left visionary stays, reflecting life from the within out and the skin in.
Marshall outlined an essence that was by affiliation synonymous with SVA. This mysterious high quality was not one thing he might flip on and off at will—he was vessel and automobile. Everybody needed to have a bit of Marshall inside themselves. The fortunate ones nonetheless do.
Throughout Marsh’s lengthy (however not lengthy sufficient) profession as artist and educator, he enabled his college students to seek out their skills and make their essential errors. He solid a spell over those that had been in his orbit. His knowledge was by no means laden with typical platitudes, however quite insights communicated by means of actions, which at the start had been in his work.
Marshall confirmed by instance that there have been discovered strategies to launch the optimistic and unfavorable emotions that comprise the soul. He by no means pressured them on anybody. He by no means drowned us in homilies from the pulpit of artwork, however as an alternative used artwork to grapple with (and settle for) recurring demons. Even his most caustic photographs reassured quite than carped.
The work on this exhibition shouldn’t be the “better of …” Relatively, a few of it’s lesser-known items that he saved to himself and some others “to amuse myself.” I can see him now, wanting down on the work from wherever he’s hanging out, and listen to that recognizable sarcastic Arisman snicker.
