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Harkawik is pleased to announce The Good Life, our first exhibition with Polina Barskaya, opening at our Tribeca location this Friday, June 6, from 6-9pm.
Underneath the apse of The Cathedral of Saints Gervasius and Protasius, at the geographical center of Città della Pieve in Umbria, among perfunctory marble columns, some of Perugino’s finest frescoes not in Perugia, Deruta, Cerqueto, Montefalco or Panicale, a decidedly Shakespearean reliquary effigy and a few monstrances that might grace a John Carpenter film, is a first-rate crypt. The air is cool, and traces of Benozzo Gozzoli’s brush are visible where seven centuries of curious hands haven’t worn it away. Its battered stone pilliars remind me of beefy trans-siberian rail workers, huddling in a downpour; utterly confident in the unending and immovable fixedness of the value they hold to the world. I’m staring at the painter Polina Barskaya, who is surveying the place with happy wonder and curiosity as if she and her husband and…
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Press Release
Harkawik is pleased to announce The Good Life, our first exhibition with Polina Barskaya, opening at our Tribeca location this Friday, June 6, from 6-9pm.
Underneath the apse of The Cathedral of Saints Gervasius and Protasius, at the geographical center of Città della Pieve in Umbria, among perfunctory marble columns, some of Perugino’s finest frescoes not in Perugia, Deruta, Cerqueto, Montefalco or Panicale, a decidedly Shakespearean reliquary effigy and a few monstrances that might grace a John Carpenter film, is a first-rate crypt. The air is cool, and traces of Benozzo Gozzoli’s brush are visible where seven centuries of curious hands haven’t worn it away. Its battered stone pilliars remind me of beefy trans-siberian rail workers, huddling in a downpour; utterly confident in the unending and immovable fixedness of the value they hold to the world. I’m staring at the painter Polina Barskaya, who is surveying the place with happy wonder and curiosity as if she and her husband and…
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