new-york

Richard Deacon

Marian Goodman Gallery | New York

There’s a kind of sculpture that makes some people feel like wusses—an art of resistant materials, mighty force, dangerous tools—but there’s always an audience for it, because it makes other people feel like titans. Of course that’s not the only reason; tough sculpture can have all sorts of formal appeal. But surely a part of its attraction is an excitement about, or an identification with, the brute ability to make such work. There are other kinds of sculpture, naturally, and the post-Minimalists in particular were serious about alternatives, for example in the tactile methods and images of Eva Hesse. Later artists like Robert Gober, too, put kinks in sculptural practice. And then there’s Richard Deacon.

Deacon works in a variety of materials—his recent show included dimpled, cumulus-shaped reliefs in stainless steel and a tabletop display of found objects—but he is best known for his

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