chicago

Gary Allen Justis

Museum Of Science And Industry

By now it is clear that the machine remains seductive and even productive as both metaphor and means for artists of the generation defined not by mechanics but by electronics. Dennis Oppenheim’s constructions overtly capitalize on the terror that even archaeological machines still hold for some audiences; even if the specter of the machine that is no longer productive retains little pathos, this multivalent metaphor has kept its esthetic and kinetic potential. Gary Allen Justis’ complex electrokinetic sculpture avoids bombast and easy, spectacular effects, and only occasionally lapses into pretentious whimsy or magic. The theatrics of things that go bump and click in the night are shrewdly integrated in Justis’ work; they draw and seduce even the most recalcitrant visitor, including myself, into the darkened gallery. But what makes these human-scaled hybrids really electric is their

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