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Haiku Reviews: Max's Kansas City Meets Cyrano de Bergerac (PHOTOS)

First Posted: 10/28/10 03:25 PM ET   Updated: 05/25/11 07:10 PM ET

HuffPost Arts' Haiku Reviews is a new weekly feature where invited critics review exhibitions and performances in short form. Some will be in the traditional Haiku form of 5x7x5 syllables, others might be a sonnet or a string of words together. This week, Peter Frank, George Heymont, and Dorothy Spears explore the visual, performance, and cultural offerings of LA, San Fransisco, Santa Fe, and New York. Is there a show or performance that you think people should know about? Write a Haiku with a link and shine a light on something you think is noteworthy too


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Hannah Wilke, Untitled, early 1960s
Charcoal and ink on paper. 24 x 18 inches
Courtesy of Ronald Feldman Fine Arts, New York
(Feldman Gallery, New York, through October 30)

HAIKU REVIEW: Hannah Wilke didn't just appear one day in the early 1970s, shirt off and chewing gum. She was active, if not prominent, throughout the previous decade, honing the graphic and sculptural chops - and the nervous, effusive wit and caustic feminist self-assertion - that would subsequently define her. This survey of Wilke's works on paper spans two decades, and features some of the most charged and beautiful of her performance-oriented '70s figural drawings. But it's the abstract drawings from her salad days, blossoming with sensuous curvature and distended genitalia, that reveal Wilke as a brilliant product of her time and sister to Eva Hesse, Lee Lozano, Judith Bernstein, and even Louise Bourgeois.
- Peter Frank
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