New York

View of “Pam Lins,” 2018. Photo: Stan Narten.

View of “Pam Lins,” 2018. Photo: Stan Narten.

Pam Lins

Rachel Uffner Gallery

View of “Pam Lins,” 2018. Photo: Stan Narten.

Three years ago, Pam Lins exhibited a series of sculptures made after photos of sculptures, including a group of ceramics based on late-1920s images of spatial models by students at the Vkhutemas (Higher State Artistic and Technical Studios) in Moscow. It was a conceptual conceit well suited to her rigorous explorations of the ways in which reproduction tends to dominate our experience of objects. More specifically, those works addressed how we often perceive sculptures as flat and frontal, even when we know full well they are dimensional, and how we prioritize their contours at the expense of their tactility. For the thirteen new sculptures in “she swipes shallow space by the slide drawer,” the artist has chosen a new source of imagery—early-twentieth-century photos of Renaissance sculptures by the art historian and photographer Clarence Kennedy—that productively

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