TABLE OF CONTENTS

PRINT November 1988

THE BENEFIT OF DOUBT OR LOVING MODERNISM TO DEATH

TONY TASSET’S SCULPTURE REPEATEDLY materializes the differences between his own works and the historical models he has chosen for his inheritance. Hirsch Perlman’s photographs analyze the differences between the visual and the linguistic processes by which we come to understandModernist architecture, invoking “the possibility of an endless manipulation of the grammar and the syntax of architectural signs.”1 Both artists comment on the historical, cultural, and commercial institutions that contain their and their predecessors’ work. Tasset transforms these institutions into ideal containers; Perlman translates them into ideological frames of reference. Tasset builds soft bodies around the skeletons of Minimalism’s steely boxes,while Perlman constructs visual and textual allegories for a reading of the places of Modernist architecture.

Self-critical and self-conscious, these artists have

Sign-in to keep reading

Artforum print subscribers have full access to this article. Please sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW and save up to 65% off the newsstand price for full online access to this issue and our archive.

Order the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.