Liz Magor’s recent exhibition of sculpture was one of her best to date, combining—with the formal refinement we have come to expect from her—a nuanced mixture of references to domesticity and wildlife, still life, religious art, and Minimalism.
A pair of sculptures, Bedside and Dresser (all works 2007), installed on the ground floor of the gallery, address the tensions that exist between private and public contexts for the display of artworks and other objects. Each work features a cast of a deer’s head, occupying a shelving unit attached to the wall with large triangular brackets so that it projects forward toward the viewer. Each is illuminated by a high-end halogen lighting fixture that looks to have been taken straight from an architect’s drafting table.
This installation allowed the two works to waver between the traditions of domestic decor and the institutional and professional
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