washington-dc

Harris Rubin

Osuna Gallery

Unlike his earlier work, Harris Rubin’s new welded steel sculptures feature representational elements and imply narrative structure. They symbolize a world dangerously out of control, gripped by conflicting ideologies and militarism. End of the Line, 1987, has an armature similar to that of a classroom globe (perhaps a plea to learn from history?) which supports a gas-powered kitchen stove and a locomotive. The locomotive, pulling a nuclear cooling tower on a flat-bed car into the stove’s oven, alludes to past and future horrors: the ovens of Nazi Germany and the threat of nuclear annihilation.

These sculptures represent a radical departure from Rubin’s previous work, which was abstract and influenced by the sculpture of Anthony Caro. However, though Rubin here abandons abstract pictorial concerns, he still employs late-Modernist pictorial space and scale-defining elements (life-size metal

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