new-york

Edward Allington

Diane Brown Gallery

The title of one of Edward Allington’s new assemblages is Aphrodite Debased Again, 1986—de-based, that is; 139 detached. Ours is an age of fragmentation partly because we are a nomadic 140 culture that takes along on each of its moves whatever is not nailed down. We are tenants rather than owners of our time. Art made of recycled components serves the new international cultural exchange well; like furniture, it is le meuble, “movable,” that which can be detached from its context and rearranged. The portability and adaptability of scavenged objects and images satisfy the contradictory instincts of the survivalist and the upwardly mobile executive. Not for nothing, then, do Allington’s sculptures resemble packing cases. Not for nothing are his drawings executed on used ledger sheets.

Unpacked in the latest gallery “apartment,” Allington’s boxes spilled out mementos of a past where there seemed

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