Hannah Greely

Whitney Museum of American Art — Wed, 07 Sep 2011 18:07:02 -0400

Exhibitions/2010Biennial/HannahGreely

Like many of Hannah Greely’s sculptures, Dual replicates everyday objects—here two booths in a dark bar—but with subtle incongruities of material or form. Visible indications of these discrepancies, like the length of the seat cushions and the height of the tables as well as the obviously handmade pay phone, take on a surreal presence within the otherwise mundane setting of a dive bar. Even the tears in the vinyl seats or spots of discoloration on the wood-paneled walls are carefully crafted by the artist. The partition that divides the work compounds its uncanny effect. As the sculpture invites an intricate play of similarity and difference, the familiar becomes strange, and a sense of psychological unease emerges in the gap between what is a real-world object and what is a sculptural facsimile.

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Whitney Museum of American Art — Mon, 01 Mar 2010 17:05:32 -0500

Exhibitions/2010Biennial/HannahGreely/Wiki

" Is there a place for sculpture between sculptures? Is it conceivable to manage a third way between non-representative, non-illusionist sculptures and figurative ones? Between ‘specific objects’ that distinguish themselves by material clarity, through the space they create and objects that build psychological and perceptual space through trompe l’oeil, realism and illusion? Is there salvation between Donald Judd and Duane Hanson? Is there an alternative between radical conceptual practice articulating criticism in visual culture and a possible embrace of a skillful hand animated by subject matter and able to give a relevant, and no less radical, form to humanism? In a peculiar way, and staying at a safe distance from the post modern, post appropriation, ironic paths opened up by the like of Jeff Koons, Richard Prince, and Haim Steinbach, Hannah Greely’s work struggles with such questions. Her sculptures carry an objecthood, far from the so-called Los Angeles ‘finish fetish’ and fascination with craftsmanship, that instead conveys a sense of frailty and aesthetic modesty bearing the evidence of her own hand." - Philippe Vergne

Whitney Museum of American Art: Recent pages: Exhibitions/2010Biennial/HannahGreely

Hannah Greely

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