Los Angeles

Sam Durant

Blum and Poe

Installing a sliding-glass door to enclose a space beyond the gallery’s reception area, a suspicious Sam Durant contrasted the workaday practicality of furnishings and building materials with the surface seamlessness of interior design through photographs, drawings, and sculpture. In his five-part sculpture Scrap Recycling Project with American Ingenuity, 1995, Durant attached a high-pressure laminate surface to odd-shaped scraps of plywood and particle board. The smooth laminate was carefully trimmed to the edges of the supports, and the pieces—painted either in the brown, yellow, and ochre “earth tones” of ’70s interiors or in “bicentennial” reds, whites, and blues—leaned against the wall. By attaching an expensive durable surface to variously shaped scraps of low-quality building materials, Durant seemed to revel in a folk-art esthetic of mix-and-match, transforming useless scrap into

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