View of “Michael Dean,” 2015. Photo: Nick Ash.

View of “Michael Dean,” 2015. Photo: Nick Ash.

Michael Dean

Supportico Lopez

View of “Michael Dean,” 2015. Photo: Nick Ash.

Viewers entering Michael Dean’s exhibition “Look at them fucking laughing” found themselves among a field of standing sculptures taller than they are wide or deep. The variously colored concrete forms were grouped a bit like Stonehenge monoliths—seventeen pillars, each with its lower part bent forward to keep it upright. Some are earthy pinks or browns or gray. Two others (both titled analogue x, 2015) aren’t solid forms at all, but rather bent metal rods with a thickness of sky-blue concrete surrounding them. They both lean precipitously to one side. Off in a corner, six slightly taller, faceted slabs, made between 2010 and 2013, rested somewhat haphazardly against the walls and one another. Their distinctive geometry––an undulating pattern of tall, triangular planes moving across them widthwise––might be something like a signature for Dean; he’s shown works with that abstract

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