reviews

Molly Springfield

Mireille Mosler, Ltd.

For her first solo show in New York, Molly Springfield took a page from the history of Conceptual art . . . literally. The ten graphite drawings presented meticulously depict photocopies from three major books on the language- and idea-based art of the late 1960s and early 1970s. The drawings were delicately pinned to the wall of one gallery, and from a distance they do indeed resemble poor-quality, toner-heavy Xeroxes. Springfield’s work is not primarily an attempt at trompe l’oeil, however, but rather aims to mine issues of representation and appropriation. Her life-size reproductions highlight certain artists and authors while meditating on the aesthetic dimension of Conceptual art.

The title of the show, “The world is full of objects”—a reference to Douglas Huebler’s ironic 1969 statement “The world is full of objects, more or less interesting; I do not wish to add any more,” which

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