New York

James O. Clark

Max Protetch

James O. Clark works in a manner that evokes the mad scientist, the visionary tinkerer, and the jazz soloist. At a moment when much sculpture consists of either accumulations of found or “store bought” objects or three-dimensional reprisals of other artists’ work, Clark’s often kinetic sculptures dispel the conformist notion that there is nothing left to do in the artistic arena but to criticize consumerism. Clark appears not to have been affected by much of what happened during the ’80s, either in art or critical discourse. His work neither partakes of this dominant esthetic nor reacts against it; he seems to have resisted all the repressive ideas and academic paradigms honored during the ’80s. Indeed, his well thought out, internally logical sculptures seem to have arrived here from another planet.

Clark has a preference for the discarded, the unattractive, the bland, and the blemished.

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