Anyway, suffice it to say that Sacks is not only no Frank Sinatra or John Wayne, he's not even much of a Billy Pilgrim, and while his
blankness complements the passivity of the character (and Vonnegut's essentially fatalistic view of life), it creates a serious charisma vacuum that, in the novel, is filled
by the narrator's generous philosophical digressions.
Museum of Contemporary Art San Diego and the Timken Museum of Art, San Diego, CA, November 10, 2012 - February 9, 2013 «Inaugural Exhibition
by Gallery Artists,» Los Angeles, CA, September 22 - October 27, 2012 «Letters from Los Angeles: Text in Southern California Art,» Jack Rutberg Fine Art, Los Angeles, CA, November 17 - December 22, 2012 2011 «The Lord & The New Creatures,» Nye + Brown, Los Angeles, CA, September 10, 2011 - TBD «Arsenale: Graphics from the Museion Collection,» Museion - Museum of modern and contemporary art Bolzano, Bolzano, Italy, July 1 - November 6, 2011 «Zwei Sammler: Thomas Olbricht and Harald Falckenberg,» Deichtorhallen, Hamburg, Germany, June 24 — August 21, 2011; catalogue «The Air We Breathe: Artists and Poets Reflect on Marriage Equality,» San Francisco Museum of Modern Art, San Francisco, CA, November 5, 2011 - February 20, 2012 «Under the Big Black Sun: California Art 1974 - 1981,» The Geffen Contemporary at The Museum of Contemporary Art (MOCA), Los Angeles, CA, October 1, 2011 - February 13, 2012 «For a Long Time...» Roberts & Tilton, Los Angeles, CA, June 4 — August 6, 2011 «The Last First Decade,» Elllipse Foundation, Portugal, April 3 — December 18, 2011 «
Blankness Is Not a Void: Scott Campbell, Steven Parrino and Raymond Pettibon,» Marc Jancou Contemporary, April 29 - June 4, 2011 «CLAP,» Hessel Museum of Art, CCS Bard College, Annadale - on - Hudson, NY, March 27 — May 22 «Collecting Biennial,» Whitney Museum of American Art, New York, NY, January 16 — November 28.
Reviewing the latter exhibition in Artforum's October 2003 issue, art historian Michael Lobel noted that «the large scale of much of Rosenquist's work was initially intended to offer the viewer some critical perspective on commercial imagery
by calling attention to its numbing
blankness,» and that «the hallmarks of Rosenquist's mature style — the slick rendering, the vibrant Pop colors, the sustained attention to the surfaces of commodity objects ---- are brought together to imbue [his smaller] works with an uncanny psychological resonance.»