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Edmier's towering sentimentality of subject, amplified by its conceptual gesturing (a lone print pulled, orchid's homage, studio ruin's chapel, a press release exhaustingly expounding its cyclical references) makes for a grandmotherly saccharine sweetness, astringent, artwork overipe, propped just prior its rolling over rotting and etching our teeth in caustic overbearingness, the art equivalent to an overbearing mother, sentimentality tortured to its sado-masochistic extreme, its breaking point, its pathos.
And so see too: On Kawara at Guggenheim , Paul Thek at Mai 36
