Los Angeles

George Stone

Meyers/Bloom Gallery

George Stone’s work is distinguished by a gloomy unpredictability, yet the wariness it engenders partly accounts for its originality. The four installations here struck the viewer in markedly different ways; each piece had its own provocative characteristics. Entering the gallery, one was immediately assaulted by an aggressive monster, Fault Line, 1986–88. Roughly 64 feet of glass is divided into 16 panels and bolted to the wall by creaky metal arms that move the panes in an undulating motion: this is a maniacal artwork, physically and technically overwhelming. It’s remarkable how intricate the movement of the glass is compared to the awkwardness of the apparatus as a whole. On the glass and wall behind it are handwritten notations about California: a fact-filled robotext. The piece is a response to an earthquake, the big one of 1971, which Stone experienced while sitting in a giant asphalt

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