60 WRD/MIN ART CRITIC
Robert Strobel
Robert Strobel’s fused glass panels stand still, neatly propped up on metal and wooden supports, but they look as if they’d just snuck off the wall of a Moroccan kitchen or out from the bushes of a Dutch garden. That effect is due partly to their vibrant, all-over flower patterns and partly to their irregular, full-bleed shapes. Glass is an unusual material out of which to make fine art: it tends to absorb whatever can be seen through its transparency, and it wants very much to have a functional purpose. Should Strobel’s candy-striped blooms become windows or trivets, as does so much artistry of its kind? The artist proposes a different idea altogether, inscribing BLACK LIVES MATTER in thick black letters on a yellow glass panel. In its combination of fragility and resilience, glass art becomes the materially logical protest sign for now.

—Lori Waxman 11/28/15 3:20 PM
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