New York

Tony Cragg

Marian Goodman Gallery | New York

Start with the drawings—a not-inconsiderable part of Tony Cragg’s recent exhibition, with twenty-one of them (all dated 1998) on view. What they explain is that for the artist a surface, volume, or object is not a stable thing. It’s something in process. With their rocking, swirling movements of bowl- and vase-like forms, the drawings recall the most profound moment in Italian Futurism: Boccioni’s Development of a Bottle in Space, 1912, which demonstrated that it was more difficult but also more interesting to render, not the speeding of a train or the rioting of a crowd, but rather the motion—through time and under the pressure of perception—of a thing ordinarily understood as static.

Though it’s a little harder to make out, Cragg’s recent sculptures are just as much about the Heraclitean motion of a still object as are the drawings. As with the Boccioni, each is the complex development

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