The Body Electric
A working lamp by the Polish-born artist Alina Szapocznikow and more objects from “Counter Forms,” a seductive, chilling museum-quality exhibition up through November 16 at Andrea Rosen gallery.
The show, organized by Elena Filipovic, brings together four postwar artists who probably didn’t know each other, or even of each other, but were united by a sensibility that draws equally on attraction and repulsion.
Szapocznikow, Tetsumi Kudo (from Japan), and Americans Paul Thek and Hannah Wilke rejected the reductive, arch sensibilities of Minimalism and Pop for a deliberately anti-heroic sculpture, abject and visceral, that was crafted with new, experimental materials and infused with sexual candor and dismembered body parts.
(From Top): Alina Szapocznikow, Lampe-sculpture, ca. 1970, tinted polyester resin, light bubble and power supply cable. ©THE ESTATE OF ALINA SZAPOCZNIKOW – ADAGP PARIS. Hannah Wilke, Untitled, ca. 1960s, painted terracotta. HANNAH WILKE COLLECTION & ARCHIVE, LOS ANGELES. ©MARSIE, EMANUELLE, DAMON, AND ANDREW SCHARLATT/LICENSED BY VAGA, NEW YORK, NY. Paul Thek, Untitled (Dental Plate #3) from the series Technological Reliquaries, 1966-67, wood, plaster, paint, porcelain, and Plexiglas. ©ESTATE OF GEORGE PAUL THEK. Tetsumi Kudo, Your Portrait, 1963, mixed media (wood, plastic). ©ADAGP, PARIS & ARS, NEW YORK. COURTESY OF HIROKO KUDO.