Benjamin Weissman

  • George Stone

    George Stone’s work is distinguished by a gloomy unpredictability, yet the wariness it engenders partly accounts for its originality. The four installations here struck the viewer in markedly different ways; each piece had its own provocative characteristics. Entering the gallery, one was immediately assaulted by an aggressive monster, Fault Line, 1986–88. Roughly 64 feet of glass is divided into 16 panels and bolted to the wall by creaky metal arms that move the panes in an undulating motion: this is a maniacal artwork, physically and technically overwhelming. It’s remarkable how intricate the

  • Luciano Perna

    “Profound Nonsense,” the title of the show, reveals something about Perna’s leanings, his interest in and commitment to absurdity. Perna trusts the messages of silliness, and it works to his benefit. Silliness offers a nuance of meaning, a layer that either confirms or throws judgment. In the center of one room sits Perfect Sense (all works, 1988), a stuffed animal—Dumbo the elephant, to be exact—in a frying pan on top of a cardboard box that once contained stereo speakers, now employed as pedestal. Beside it, a tarred and feathered motorcycle, looking insane and beautiful, entitled El Pollo