The Detroit Institute of Arts Presents:

Interventions/Brian Kritzman

Madonna and Child, 1995
wood, slate, steel, string

When Kritzman's work is viewed from this spot its alignment invites comparison with Canaletto's painting of Saint Mark's Square in Venice.

Although the abstract nature of the installation suggests that correspondences with Canaletto's painting are based on formal relationships, there are also connections in content.

According to Kritzman his work symbolizes the boundaries that shape the physical and psychological spaces we inhabit. Similarly, Canaletto's painting describes the boundaries that define the physical and civic core of Venice.

Like Canaletto, Kritzman indicates that there is a flow within the spaces to which he alludes. While Canaletto shows human figures in the city square, Kritzman reference to flow is less concrete. It is implied in the surface forms seen when we move to the left to view the work. These forms suggest that internal flux resides in all structures - atoms, molecules, cells of the body, or the spaces that surround us.

"Madonna and Child"

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