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The Globe and Mail Published January 13, 2021
Stephani Buchman/Stephani Buchman
Ever since the public was conditioned by the pop art movement of the early 1960s to see mundane, ordinary objects as things of beauty – Warhol’s recontextualized soup cans or Lichtenstein’s comic book heroines come to mind – the concept of high-brow and low-brow coexisting, whether on canvas or in architecture, has been an easy pill to swallow.
So, that the hyper-realistic paintings of ice cream cones, cookie-stacks, coffee cups, halved avocados and Hershey’s Kisses are illuminated by both inexpensive IKEA fixtures as well as pricey gallery lighting in Erin Rothstein’s art studio is rather apropos.