Brian Leahy

  • picks December 11, 2019

    Gordon Hall

    “Can I make sculptures that are dances?” Gordon Hall asked in a 2013 text. The sculptures in “Uselessness”—nine simplified forms rigorously fashioned from cast concrete, poplar, and carved brick—answer affirmatively. In an exhibition earlier this year at the Portland Institute for Contemporary Art, for which these works were commissioned, each sculpture correlated with a performance. Some called for physical contact between the performer and the object—for example, the artist perched in the carved space of Sitting (Brick Object) (III) (all works 2019). Others were more associative, as in the