new-york

“The Subverted Object”

Ubu Gallery

Most of the forty-eight pieces in this survey of Dada- and Surrealist-derived sculpture (generally from the ’60s to the ’90s) represent everyday objects and are made largely out of the objects themselves: a mirror coated with silver paint (Bertrand Lavier, Mirror, 1986); a pair of worn high heels partly wrapped in plastic and tied together with twine (Christo, Wrapped Shoes of Jeanne-Claude, 1962); a globe coated with gray soil (Vik Muniz, Terra Incognita, 1996); a red dial phone whose earpiece is a hand drill (Richard Tipping, Drill-a-Phone, 1990); two furled umbrellas covered with shiny, brightly colored, thumbnail-size tin insects and set in a green-velvet-lined clarinet case (Jurgen O. Olbrich’s Damenselbst-falter [Ladies’ self-folder], 1990). Sculptures, then, in which everyday objects become images of themselves within their respective works’ field of imagery and are thus “transformed,”

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