New York

Jeffrey Wisniewski


Maybe the art world is hopelessly jaded, maybe entrenched recession malaise has sent us in search of diversions of any sort, maybe the cyclical revival of interest in ’70s-style radical art has opened long-closed doors. Whatever the reason, it’s been a season of stunts and provocations. Jeffrey Wisniewski’s recent dismantling of an entire suburban house in Briarcliff Manor, N.Y.. which he then had fed through a portable stump recycler—reducing the entire edifice to wood chips—and transported to a gallery for exhibition, offers the novelty of an outrageous act strategically reinforced as a recycling of ’70s precedents.

The dismembering of an unassuming suburban dwelling echoes Gordon Matta-Clark’s Splitting: Four Corners, 1974, in which the artist chain-sawed a house in half, though Wisniewski’s kamikaze demolition contrasts with Matta-Clark’s sensitivity to the poetics of the original spaces

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