New York

View of “Greer Lankton,” 2014.

View of “Greer Lankton,” 2014.

Greer Lankton


View of “Greer Lankton,” 2014.

Greer Lankton created a world that she wanted to live in. The often life-size dolls that peopled this exhibition, which was high on many people’s favorites lists for 2014, have a psychic charge that speaks of needs and ambitions not only aesthetic but immediate and personal, as if in making these sculptures she’d been making beings to give herself company and support. Should the thought arise that this turns them into something other than art—therapy, perhaps—I would quickly dismiss it: The feeling of entering a previously unimagined dimension that its maker has realized and worked through to a degree unthinkable to others, yet whose necessity they recognize, is an aesthetic experience of a high kind. In any case, therapy may not be such a bad way for art to go. (Perhaps Giacometti, too, could on some level have been making company for himself.)

Lankton, a transgender

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