Los Angeles

B. Wurtz, Untitled, 2018, wood, string, buttons, acrylic paint, wire, 30 × 8 × 5 1⁄2".

B. Wurtz

Richard Telles Fine Art

B. Wurtz, Untitled, 2018, wood, string, buttons, acrylic paint, wire, 30 × 8 × 5 1⁄2".

What of the everyday? When bombast becomes routine, the quotidian is crushed to pieces and caked into something dense and foul. No rest for the weary. No rest, period. Small pleasures (that recipe, that friend, that story) are no longer spiritually fulfilling in quite the same way. Microaggressions, nightmares, and traumas cycle through one’s head: She came up the stairs and he was waiting, with his friend, to attempt to rape her. They laughed because (and we don’t have to assume) it happens every day. 

In four sculptures and ten wall-mounted assemblages on panels, B. Wurtz managed to make an argument for the affirming capacities of the everyday. These works were not intended to respond to the events contemporaneous with their exhibition—they were created before Brett Kavanaugh’s hearing and installed just a few days after Dr. Christine Blasey Ford’s name first became

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