Trisha Donnelly at Casey Kaplan Gallery, Installation view
It’s official. I’m a contributor at Art-Agenda, a new online review forum brought to you by the good folks at e-flux. The monthly publication is great news in my books; there aren’t enough online venues dedicated to producing clear, thoughtful reviews and Art-Agenda offers just this.
In this issue I discuss the Trisha Donnelly show at Casey Kaplan. The teaser below.
Is a lot of empty space and a couple of big slabs of marble enough to unify an exhibition? Almost certainly yes, which is also the problem: it's too easy to make a show look cohesive when there's not much in it. For her fourth solo show at Casey Kaplan, Trisha Donnelly sparsely arranged a few stone sculptures—relics from the fourth (and relatively empty) dimension.
In the first gallery, front and center, there's an angular pink stone with two ridged scooped out areas on either side. Mounted on two 2x4s, it resembled a seashell, temporarily beached here. In the following room is what looks like a fossil or victim of some mechanical penetration, the scars of the brutal equipment meant to harvest unnamed riches laid bare. When the show was first installed, a small amount of water left from the wetted blades used to cut the stone lay suggestively in the stone's cracks. (I was disappointed when the gallery director Loring Randolph told me there was no intended meaning behind this; the water was gone when I returned.)
To read the full piece click here.