new-york

Robin Winters

Brooke Alexander

The human head provided the central figure in each of a series of independent installations and groupings of sculptures that comprised Robin Winters’ recent exhibition. Manufactured from such diverse media as bronze, glass, and ceramic, these works all either reference the head directly, or, as in the case of Pile of Crowns, 1989, suggest adornments for the head. As a sculptural base, the head serves as a conceptual foundation upon which Winters presents an array of “ideas” manifest in the form of various found or sculpted objects.

In Stop Look Listen, 1990, a tiny figure sprouts from the pate of an amorphously shaped head as did Athena from Zeus. From the emerging figure’s stout torso, enormous open hands extend upward on long arms. The hands resemble mittens, but with their thumbs awkwardly turned outward. The odd juxtapositions of scale and form that distinguish this work are muted by

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