frigate logomenu bar shop archives Links about us essays/features reviews/critiques search home
bird1
bird2
bird3



pdf icon
Click here to download PDF version to print.


acrobat reader
Click here to download PDF Reader.

Barbarie Rothstein

The potential to be shaped and cast into thoroughly inventive three-dimensional forms is one of paper's special qualities. Barbarie Rothstein's..."Altar Gate" [molds] paper into haunting, effective [sculpture that impresses with its] sensitivity to the material, [its] sense of wrapping and enclosing and [its] ability to convey the appearance of frozen gesture. It is movement captured in a momentary, transitory state.

— Phyllis Braff, The New York Times, Sunday, August 19, 1984



Altar Gate Husk II Dark Sanctuary

Altar Gate, 1983.
Mixed media: wire, wood, masonite, paper, pigment.
36"H x 24"W x 14"D

Husk II, 1985.
Paper, wire, wood, masonite, acrylic paint.
43"H x 30"W x 22"D


Dark Sanctuary, 1991.
Wax, branches, wood, wire, sisal.
39"H x 20"W x 22"D



Rothstein's sculptural structures are based on architecture, echoing traditional building forms in elementary materials and allowing their natural qualities to dictate structural integrity. Design and construction are carefully manipulated to point up comparisions between so-called primitive and sophisticated building techniques.

In her "Cathedral" series Ms. Rothstein uses crude branches laced together with sisal to create skeletal, microcosmic incarnations of Gothic arches.

— Helena A. Harrison, The New York Times, Sunday, October 3, 1993



Spirit Shelter Cathedral IV View #2

Spirit Shelter, 1992.
Vines, brances, sisal, wax.
60"H x 40"W x 35"D


Cathedral IV View #2
Branches sisal, wax.
48.5"H x 21"W x 41"D



©2000-2002 Frigate: The Transverse Review of Books. All Rights Reserved.
We welcome your comments and suggestions on our site. Please email <webmaster@frigatezine.com>.

Back to Frigatezine Home Page

Click here for public-service announcements.