new-york

Jeff Nelson

Greene Naftali Gallery

Sculpture in the twentieth century has been perpetually threatened by those rival media that most directly make its claims to simultaneously engage aesthetic visuality and actual space outmoded: film and photography (in the realm of the image), architecture and industrial design (in the construction of space). In light of the general enthusiasm for reclaiming sculpture as the most “relevant” medium of artistic production today (in the work of any number of installation artists), it’s useful to recall the supposed atavism of the medium’s production processes, the bankruptcy of its traditional monumental logic, and the potential primitivism of its practitioners’ increasing desire for immediate apperception and site-specificity.

Jeff Nelson’s first solo exhibition, “Open Wide,” directly confronted these issues—especially the threats posed (and possibilities introduced) by cinema and architecture.

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