Los Angeles

Samara Caughey

David Kordansky Gallery

Fortunately, art history is written as much, if not more, by artists as by historians, in part because artists are not beholden to fact. To come to terms with the jubilant work in Samara Caughey’s debut solo show—five freestanding sculptures and three wall-hung pieces—a familiarity with the basic discourse of twentieth-century sculpture in the ever-expanding expanded field would be useful, but liberal doses of Emersonian whim, intuitive conjecture, and, hey, fun should aid the fieldwork.

Certainly Eva Hesse is an important historical inspiration for Caughey, but so too are the less-sanctioned, more-wayward activities of Richard Tuttle, Ree Morton, and B. Wurtz. Tuttle’s fearless investigation of materials, Morton’s shocks of color, and Wurtz’s deployment of the mundane readymade—in these artists’ hands such practices remain “formalist” and “materialist” only as long as those particular

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