Mary Stoppert

Deson-Zaks Gallery

Each of Mary Stoppert’s designs, on a human scale, has a physically rigid, straight wooden frame or support, which may connect with a latex-substantiated rope, a curved element that extends into the viewer’s space. The designs progressively widen or taper, with an accompanying motion of uplift or descent. Real-world references are to sleds, chairs, fences, ladders, surreys, and skeletal frame houses. Here Stoppert resembles the steel sculpture of a less poetic but practical Midwestern sculptor, Michael Hall, whose elegant, stark designs have contrastingly common, friendly references to gates, fences, and slides. But Hall’s work is of the big, outdoor variety, and Stoppert, while mobile and not site-bound, is still very much interior sculpture.

Stoppert’s forms are odd because even though they frame a space, they do not inhabit it. Their horizontal lines visually and physically hold the

to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and receive the print magazine plus full online access to this issue and our archive.*

Order the ONLINE EDITION for $5.99.

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