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Linda Nochlin at the Bar at the Folies-Bergère,” 2005. Kathleen Gilje
Kathleen Gilje’s show at the Bruce Museum recreates monuments of art history, changing just enough to produce novel artworks rather than forgeries.
Few people in the art world will forget an incident that occurred a little over a year ago, when a parishioner in a church near Zaragoza, Spain, took it upon herself to restore a fresco of Jesus — and ended up ruining it. It’s unlikely that Kathleen Gilje’s exhibition at the Bruce Museum in Greenwich will receive as much attention as the hapless Cecilia Giménez, whose story immediately spread on the Internet. But if Ms. Giménez offered a tragicomic lesson in the pitfalls of do-it-yourself conservation, “Revised and Restored: The Art of Kathleen Gilje” shows the work of a skilled practitioner-turned-artist who consciously blurs the lines between restoring art and making something new.
“Revised and Restored: The Art of Kathleen Gilje,” Bruce Museum, 1 Museum Drive, Greenwich, through Sept. 8
