Los Angeles

Michael Joaquín Grey

Stuart Regen Gallery

In Michael Joaquín Grey’s show the trouble begins with the first seductive photograph. After its abstract first impression fades away, a tiny, cryptically muted image is detectable—an upside-down rubber replica of the Tin Man’s helmet. One thinks of The Wizard of Oz—rusty, cheerful, and void of a heart. But no; perhaps the photograph is to serve as a metaphoric “funnel”—a starter button to a body of work that wishes to address seemingly everything: animation, logic, genetics, electricity, human development, animals, play, sexuality, evolution, erosion, and ecology. With the aid of the funnel in tinman, 1991, one is to envision drops of water cast into the two hydrocal bricks that comprise the sculpture drips [captured earth], 1988–92. On the ground next to the bricks is a third work, bovines, 1991, consisting of a pewter bull and a cow made of orange Silly Putty. The models look respectively

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