New York

Ceal Floyer

Casey Kaplan

Ceal Floyer’s work sits on a cusp between Minimalism and Conceptualism. This is a vexed spot where literality and truth to form, pushed to their logical and rhetorical conclusions, metamorphose into something elseneither object nor concept but a hybrid of both. Ink on Paper (video) (all works 1999) consists of a closely cropped shot of the artist’s forearms and hands framing a white piece of paper on a small table. Floyer wears a shirt with white sleeves; in her right hand is a black marking pen, which she holds upright on the center of the white sheet, so that it bleeds a black circle. The hand is absolutely still, and the scene is staged and shot in such a way that it looks like a documentary photograph. But it isn’t precisely a photograph. In fact, we learn—it is necessary to read to learn—that, over the course of an hour, the contents of the pen slowly empty, until it runs out of ink.

to keep reading

Artforum print subscribers have full access to this article. Please sign in below.

Not registered for Register here.

SUBSCRIBE NOW and save up to 65% off the newsstand price for full online access to this issue and our archive.

Order the PRINT EDITION of the February 2000 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.