Los Angeles

Michael Wilkinson

Daniel Hug

It’s not surprising that mirrors, as both pictorial subjects and actual objects, appeared frequently in the art of the 1960s, when many artists were staking their claims on the treacherous interzone between painting and sculpture. Roy Lichtenstein painted “mirrors” in graphic shorthand, while Robert Smithson, Dan Graham, and Art & Language, among others, employed the real thing to great and varied effect. Richard Artschwager approached the looking glass from both sides, so to speak, and no artist of the period used the mirror—with its unsparingly honest and insistent reflections, and the inescapable spatial and social ramifications thereof—more conspicuously than Michelangelo Pistoletto.

That Pistoletto is not very well known in this country perhaps works to the advantage of Glasgow-based artist Michael Wilkinson, whose recent exhibition of mirror works reprised those of his Italian forebear,

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