For his third exhibition at Kim Foster Gallery, Scott Sherk used the act of walking as source and subject. The work on view, like that by various predecessors for whom perambulation was a theme, brings the outside inside via documentation, and the material consequence of Sherk’s wanderings is a teched-up, twenty-first-century extension of Richard Long’s geometric arrangements of rocks and mud, Hamish Fulton’s photo-text chronicles, and Stanley Brouwn’s obsessive measurements of distance. It’s an old project buttressed by new(ish) machinery, Conceptual art with the assistance of a satellite navigation system and a stereo recording rig.
The show’s six works stem from field recordings of walks taken by the Pennsylvania-based artist in his home state, New York City, Los Angeles, and Ireland. Each consists of a wall-mounted CD of the recording and a set of headphones, an oversize black-and-white
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