Los Angeles

Jason Meadows

Marc Foxx Gallery

Writing about Jason Meadows’s sculpture in 1998, Dennis Cooper concluded that “there’s something about Meadows’s low-key yet forward-thinking sculptures that toys innocently with your mind while, at the same time, making you think unusually hard and well about the great unknown’s possible discrepancies.” Meadows achieves this mental mobility by way of a thorough assimilation of the seemingly contradictory syntaxes and grammars of, among others, Anthony Caro and H. C. Westermann. Even more than he’s been testing the borderlines between abstraction and figuration, in his last few shows, especially his brilliant “The Thought That Counts” at Sister in Los Angeles in 2004—for which he collaborated with seven sculptors by providing “pedestals” for their work—he’s been questioning what supports structure or what structures support in a moment when too much sculpture seems content to be nothing

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