{"id":81267,"date":"2015-01-06T15:39:54","date_gmt":"2015-01-06T20:39:54","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=81267"},"modified":"2015-01-06T15:48:40","modified_gmt":"2015-01-06T20:48:40","slug":"marisol","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/01\/06\/marisol\/","title":{"rendered":"Marisol"},"content":{"rendered":"
\"Marisol\"<\/a>

Marisol Escobar, Untitled<\/i>, 1965, silkscreen, 26.5″ x 32.5″.<\/p><\/div>\n

Probably my favorite entry in The Paris Review<\/em>\u2019s print series<\/a> is Marisol Escobar\u2019s, from 1965. It hangs in our office, where, especially on hot summer days, I gaze at it when I\u2019m feeling thirsty. It is, at zero calories, the ultimate in refreshment. But we can safely assume that Marisol had little interest in the contents of the magazine. \u201cI don\u2019t like to read,\u201d she said flatly in a 1968 interview<\/a>. \u201cIt bores me.\u201d<\/p>\n

Very well, Marisol. Agree to disagree.<\/p>\n

For a few more days\u2014until January 10\u2014New Yorkers can see this print, along with other sculptures and works on paper by Marisol, at El Museo del Barrio, where she\u2019s having her first solo show in a New York museum<\/a>.<\/p>\n

Marisol, who\u2019s eighty-four now, is famously taciturn\u2014she speaks no more than she has to. (Take these exchanges from another interview: \u201c<\/strong>Do you watch movies or TV?\u201d \u201cNo.\u201d \u201c<\/strong>Would you recommend sculpture as a career?\u201d \u201cYes.\u201d \u201cDo you communicate with any other artists?\u201d \u201cNo.\u201d) She\u2019s best known for her figural sculptures, which, like her Paris Review<\/em> print, satirize the culture and fit comfortably\u2014if singularly\u2014into the tradition of Pop Art. But she\u2019s cryptic, to put it mildly, about her process. \u201cIn the beginning I drew on a piece of wood because I was going to carve it,\u201d she said in that \u201968 interview. \u201cAnd then I noticed that I didn’t have to carve it, because it looked as if it was carved already.\u201d<\/p>\n

Rather than waste more words, then, I\u2019ll get onto the work itself: below, more pieces from the El Museo del Barrio exhibition. <\/p>\n

\"1.<\/a>

The Family<\/i>, 1969, mixed media (wood, plastic, neon, glass), 88″ x 56″ x 65″. Image courtesy of El Museo del Barrio<\/p><\/div>\n

 <\/p>\n

\"11.<\/a>

Pocahontas<\/i>, 1975, lithograph, 26\u215b” \u00d7 19\u00be”.<\/p><\/div>\n

 <\/p>\n

\"10.<\/a>

Magritte IV<\/i>, 1998, wood, oil paint, plaster, charcoal, and cloth, 70″ \u00d7 41″ \u00d7 36″.<\/p><\/div>\n

 <\/p>\n

\"9.Marisol_The<\/a>

The Funeral<\/i>, 1996, oil and crayon on wood, 56″ \u00d7 122\u00bc” \u00d7 11″.<\/p><\/div>\n

 <\/p>\n

\"8.<\/a>

Horace Poolaw<\/i>, 1993, wood and mixed media, 76″ \u00d7 40\u00bd” \u00d7 32″.<\/p><\/div>\n

 <\/p>\n

\"7.<\/a>

Lick the Tire of My Bicycle<\/i>, 1974, colored pencil and crayon, 72\u215b” \u00d7 105\u215b”.<\/p><\/div>\n

 <\/p>\n

 <\/p>\n

\"2.<\/a>

Tea for Three<\/i>, 1960, wood, acrylic, and found objects, 64″ \u00d7 22″ \u00d7 27″.<\/p><\/div>\n

 <\/p>\n

\"12.<\/a>

Jack Mitchell, Marisol Working on \u201cThe Family,\u201d<\/i> 1969, photograph.<\/p><\/div>\n

Dan Piepenbring is the web editor of <\/em>The Paris Review.<\/p>\n","protected":false},"excerpt":{"rendered":"

Probably my favorite entry in The Paris Review\u2019s print series is Marisol Escobar\u2019s, from 1965. It hangs in our office, where, especially on hot summer days, I gaze at it when I\u2019m feeling thirsty. It is, at zero calories, the ultimate in refreshment. But we can safely assume that Marisol had little interest in the […]<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2384],"tags":[12976,16502,16425,16501,16500,13833,9368],"class_list":["post-81267","post","type-post","status-publish","format-standard","hentry","category-look","tag-drawings","tag-el-museo-del-barrio","tag-exhibitions","tag-marisol","tag-marisol-escobar","tag-pop-art","tag-print-series"],"acf":[],"yoast_head":"\n8 Sculptures and Drawings by Marisol Escobar<\/title>\n<meta name=\"description\" content=\"The artist\u2019s work is on display at El Museo del Barrio\u2014including a print she designed for The Paris Review in 1965.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2015\/01\/06\/marisol\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Marisol by Dan Piepenbring\" \/>\n<meta property=\"og:description\" content=\"January 6, 2015 \u2013 Probably my favorite entry in The Paris Review\u2019s print series is Marisol Escobar\u2019s, from 1965. 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