New York

Michael Mcmillen and Alan Herman

Whitney Museum and O.K. Harris Gallery

Working with props and realistic settings poses several immediate problems for a sculptor. It’s a question of manipulation, really, whether or not the artist can subvert the entire set of inherent connotations to his own purpose. The purpose may vary somewhat—to exploit the meaning of a prop; to transcend connotation and/or pervert the universal reaction; to replace the connotation using the object offhandedly, ignoring previous meanings.

Perhaps as a result of photo-realism, the duplication of objects and our environment has become an accepted form of expression; we abound in self-documentation. Modern narcissists, we seem to enjoy the thrill of recognition without demanding the edge of satire and compassion that marked the work of painters of previous generations. Rather, an objective eye for detail, a careful observation of the objects and elements that make up the stuff of our lives,

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