Eran Shakine

Gallery 39 for Contemporary Art

Forty-two years after the publication of Robert Morris’s Notes on Sculpture in these pages, the reception of Minimalism and post-Minimalism remains a live issue, so it is not altogether surprising to witness the reappearance of these idioms as mediated through motifs of Judaism. While Morris probably did not envisage the permutation of his “unitary forms” into anything like Eran Shakine’s sagging, handcrafted, toxic-hued Orange Menorah (all works 2008), such an extension into a culturally and religiously specific context may be an inevitable outcome of their engagement with the phenomenological body. Likewise, the implied spectator who emerged from the identity politics of the 1980s here seems to be reconstituted as Jewish.

What complicates Shakine’s concretization of Minimalism and its aftermath—which might otherwise have remained a mere folksy citation of Judaica—is his engagement with

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