"Last Saturday, the gallery hosted an impromptu one-day preview of Marcus Brutus: En Focus, which formally opened November 13 at Harper's Chelsea 512. The day before, we had arranged the paintings along the floor for a special client, one of Marcus's most dedicated supporters. The works, still in their shadowboxes, were placed by size beneath our current exhibition by Iria Leino."
"No curatorial thought was given to the placement; I had planned to return them to storage immediately after the meeting. Just as the client arrived, a well-known figure in the art world stopped by to see the Leino show. Fortunately, I didn't recognize him, because had I known who he was I might have rushed to apologize for the distraction on the floor. To my surprise, he assumed Marcus's paintings were part of Leino's presentation."
The gallery hosted an impromptu one-day preview of Marcus Brutus: En Focus before its formal opening, with shadowboxed paintings arranged on the floor beneath Iria Leino's exhibition. A well-known visitor mistook the floor arrangement for an intentional installation, prompting other visitors to praise the unplanned display. The side-by-side placement revealed a narrative framework and storytelling across the works that might have been missed in a conventional hang. Marcus Brutus employs cinematographic techniques and emotional intensity, often referencing historical antecedents and backstories. His debut, The Uhmericans (2018), was a response to Robert Frank's The Americans and established his narrative approach.
Read at Juxtapoz
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