New York

Gregory Turpan

Hundred Acres Gallery

Gregory Turpan’s show at the Hundred Acres Gallery was similarly eclectic. He draws, however, on different sources—with one exception: both Wesselmann and Turpan employ or have employed found objects. This points to Duchamp, the source underlying so much assemblage, European and American. Turpan’s works are put together from household objects, always very clean and new: “hard-edge” in effect, even where they are not literally so, as with his mops and Gainesburgers. In Grill Mop, these two materials, or objects, are enclosed in an outdoor barbecue grill. It’s as though slightly disorderly materials were being subjected to a portable grid. This joking reference to pictorial devices seems explicit, if not very amusing. Though Turpan is a sculptor, his works are ordered by the least sculptural aspects of Minimalism: the grid; two-dimensional symmetry; and a persistent diagrammatic clarity. His Mop Handles and Shock Cords, a flat structure in which these objects form a symmetrical pattern, can serve as a guide to his sources: hard -edge painting and sculpture; assemblage (which is serial in his works, for his materials can be rearranged in various patterns); and, reaching further back in the same direction, Duchamp’s ready-mades, whose con tinued availability owes much to the Pop-oriented art of which Wesselmann is still a practitioner.

Carter Ratcliff