reviews

  • Mowry Baden

    Galerie Christiane Chassay

    Mowry Baden’s perfunctory gadgets, pseudo-mechanisms, and constructed environments playfully investigate the phenomenology of perception. While Baden’s earlier works such as I Walk the Line, 1968, and Adelbert’s Bet, 1971, owed a large debt to Frederick Kiesler’s Endless House, 1960, and Robert Morris’ space-transforming sculptures and installations, by the ’90’s Baden was constructing elaborately mechanistic works with multiple parts. The pseudoindustrial Dromedary Mezzanine, 1991, consisted of a viewing platform on wheels, from which one could see a series of miniature tents filled with packaged

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