Arthur Ganson and His Elegant Mischief Machines

Faster, 1982. Mixed media. If motorized sculpture could be cast in dramatic roles, Rebecca Horn’s sporadically silent and staccato objects would fit nicely in existential melodramas à la Samuel Beckett; Bruce Nauman’s heavy irony and foreboding forms seem to embody Antonin Artaud’s Theater of Cruelty; and Jean Tinguely’s lightly satirical fusions of parody and absurdity

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