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
Archive
Pierwalk ‘98
Dispatch
Peter Kennedy
Melbourne
Pietro Consagra
Darmstadt
Per Kirkeby
London
Ed Wicklander
Seattle
Louise Bourgeois
Raleigh, NC