New York

Tony Cragg

Marian Goodman Gallery | New York

There’s a kind of scientific air to Tony Cragg’s recent sculptures, as if he’d been studying the effects of movement on mass in a wind tunnel. Mass in forceful movement, movement embodied by mass: Declinations, 2003, makes the strategies clear, all the more so because it seems centripetal and centrifugal at once. Concentrated toward some hypothetical core while relentlessly expanding beyond itself, the piece seamlessly integrates fluidity and solidity, thinness and thickness, instability and stability with a kind of dramatic flair. Indeed, the work, like many in this exhibition, could be an aerodynamic gesture abruptly terminated, as though self-containment had been imposed on the uncontainable. The sense of swirling—a demiurgic maelstrom—informs all the sculptures here, even the implicitly figural; the vaguely nauseating, excitingly exotic, mottled jungle greenness of Green Early Forms,

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