Friday, June 21, 2024

Tony Feher at Gordon Robichaux

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Taking a small chew out of a bigger sculptural observe, “Tony Feher 1986–1994” is a valuable reminder of the late artist’s ability to show the seemingly prosaic into the spontaneously poetic. Spanning eight years of Feher’s life, earlier than and after his HIV-diagnosis, the fifteen works offered right here display Feher’s distinct consciousness of time (he died in 2016) and his shut consideration to type.

A number of of the items on this presentation have by no means been exhibited earlier than, providing us the present of a primary encounter. Whereas Feher has just lately obtained lengthy overdue recognition for his drawings (a e book of those works was revealed in 2022 by Gregory R. Miller & Co.), the artist is greatest recognized for his artistic preparations of mundane objects into shrine-like configurations. In Feher’s palms, a budget turns into cherished; the banal, stunning; and the junky, completely jewellike. Whereas usually talked about in relation to the artwork of Felix Gonzalez-Torres and Gabriel Orozco, Feher’s output is equally in dialogue with that of Yuji Agematsu and Sweet Jernigan—artists who disguised themselves as metropolis archaeologists scouring the streets in the hunt for treasures.

His signature use of glass jars and marbles is effectively represented on this intimately sized present, as we see in two Untitled works made between 1991 and 1993. Elsewhere, the marbles are both resting on a sheet of aluminum foil or have been suspended from the ceiling inside a mesh bag. The supplies’ reflective surfaces catch the solar coming in from the gallery’s two giant home windows overlooking New York Metropolis, leading to varied research of sunshine—a main curiosity of Feher’s. One glass jar has been emptied out onto a pedestal, revealing thirty-seven objects organized right into a square-shaped group (Untitled, 1992–93). The cardboard field is one other recurring motif, making an look in 4 of the featured works. These sculptures converse to Feher’s concern with objects that perform as containers, to be stuffed and emptied out. Whereas they are often learn as vessels holding the huge losses led to by the AIDS disaster, being stuffed and emptied out additionally echoes the method of respiration, and thereby the physique itself.

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