Milan

Cady Noland

Massimo De Carlo | Milan/Belgioioso

Cady Noland has literally filled the gallery––like a cluttered garage or warehouse––with her complex assemblages of miscellaneous found objects, commodities, ready-mades, and what might be described as picnic or party litter. Excess and confusion acquire an expressivity within the work’s structure. The space is activated by Noland’s 21 works; it is quite difficult to distinguish where one work ends and another begins. What at first appears as sets of amalgamations of random clutter becomes, upon closer observation, the result of a rigorous selection process. Noland’s objects divide themselves into like groups grounded within the fragmented narrative structures she is creating. Here the static use of horse paraphernalia, automobile parts and accessories, motorcycle helmets, handcuffs, walkers, and canes seems to speak of the mobility these objects connoted in their “functional” life and of

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