london

View of “Rebecca Warren,” 2011.

Rebecca Warren

Maureen Paley

View of “Rebecca Warren,” 2011.

Over the past ten years or so, most accounts of Rebecca Warren’s work have included the same familiar list of names, conjured more or less explicitly by her sculptural forms and techniques. Degas, de Kooning, Helmut Newton, R. Crumb—this dubious patrilineage can be traced across decades and media, sustained by a tireless fascination with the female body. With virtuosity, Warren has mimicked and lampooned them all. But discussion of her work has often halted with the identification of these references, reducing her complex engagement with the politics of sculpture to a witty and pointed one-liner. By now, however, Warren has developed a distinctive sculptural vocabulary generative of its own productive correspondences and tensions. The title of her recent show at Maureen Paley, “Come Helga, This Is No Place for Us II,” framed it as a follow-up to her exhibition at Galerie Max

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