previews

  • Ceal Floyer, Solo (detail), 2006, microphone stand, microphone holder, hairbrush, 54 3/8 × 25 1/4 × 25 1/4".

    Ceal Floyer, Solo (detail), 2006, microphone stand, microphone holder, hairbrush, 54 3/8 × 25 1/4 × 25 1/4".

    Ceal Floyer

    Aspen Art Museum
    637 East Hyman
    October 20, 2016–January 22, 2017

    Curated by Heidi Zuckerman

    Two decades ago, while her YBA predecessors were garnering international attention for blaring, acerbic one-liners, Ceal Floyer emerged in Britain as a beacon of restraint, creating such quotidian epigrams as Light, 1994, a dangling, unplugged bulb lit by four surrounding slide projectors. Floyer’s minimal gestures require sustained consideration, making her practice perfectly suited for a showing such as this—a spare but rewarding survey of thirteen pieces made between 1993 and 2015. Take in the early work Door, 1995, in which a slide projector has been configured to mysteriously illuminate a strip of light beneath a closed door, or Solo, 2006, a mic stand supporting a would-be star’s hairbrush. Or pause to digest the artist’s latest iteration of Bars, 2015, for which she has fitted the museum’s street-level picture window with bespoke black steel bars. Floyer’s closed-circuit construction outs itself, plangently, as a brittle, carefully maintained surface, half covering and half concealing. Existential anxiety? We don’t talk about that.