Next is the room highlighting Marino's work as an architect, with videos and models of buildings from around the world. Then there's the Robert Mapplethorpe room which juxtaposes flesh-focused photos with marble reliefs. And those touchable surfaces lead into a very different space with tons of texture. Two giant Anselm Kiefer's make painting into sculpture with the thickness of the paint. A huge, black Georg Baselitz sculpture towers over in a friendly way, showing what appears to be a couple. Again, you just want to reach out and touch it.
There's a hidden room in the back we didn't notice the first visit where videos of a version of the opera Marino and his wife Jane Trapnell, along with Michal Rovner, Dior, Francesco Clemente and others, staged in their home, Christophe Willibald Gluck's Orfeo ed Euridice. But in there, you can actually touch something. There's a few stairs that lead to a single black platform where you can stand while a friend snaps a picture. You're part of the show. And in the middle of the room is a round bench that acts as a vase to deep purple calla lilies. It's like a room you'd dream up as a little kid, but in a legit art museum.
The color is again removed in the next room which has a variety of artworks that highlight skulls, including a few Warhols. It could have been kind of corny and like Ed Hardy, but it manages to not even bring that sort of L.A. cheese into the mix.
Even if you're having trouble paying your rent, wearing last year's Keds amidst a crowd of Louboutins, the level of distraction from your inexpensive life is satisfyingly high at One Way. And the show was executed in a way that's hard for even the most bitter culture junkie to criticize.
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