“Super Moment” at the LeRoy Neiman Center Gallery

Reviews

Composed mostly of large post-prehistoric sculptures “Super Moment,” on display in the Student Union Galleries’ new LeRoy Neiman Center Gallery, features organic seeming icons of an imaginary civilization — odd and crude. The exhibition, a solo show by SAIC recent BFA graduate Max Garett, suits the new location well with its unique public viewing possible through the glass walls located on Monroe between Wabash and Michigan Ave. None of the pieces would be imposing alone but together they characterize a future forgotten generation.

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Max Garett, “The Redeemer,” “Super Moment,” LeRoy Neiman Center Gallery, Jul 17 – Aug 24, 2012. Images courtesy of SUGs.

“Image One” is a painted steel object hung on the west wall of the gallery. It is the only sculpture that isn’t anthropomorphic. It stands as a simulation of early mark-making, manufactured with modern materials and awareness.  It stands out in the show for its crispness among the other dense irregular forms.

 

“1000 People” is noticeable for its size, materials and humor,  resembling a pair of very large pants with a well-manicured lawn growing up from the waist.  Another comic moment can be found in “The Redeemer,” a lumpy life-sized figure with thin rigid arms, long enough to embrace at least four large sinners.

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Max Garett, “1000 People,” 2012. Exhibition view, image courtesy of the gallery.

While there are hints of ancient imagery to many of the sculptures, there is no mistaking their contemporaneity, especially since many of them are partially constructed from well-camouflaged polystyrene or steel. There are some witty formal moments in Garett’s sculptures, but being a “words” person, my favorite element is the title. Highlighted and scrawled by an uneven hand, it adds nice thematic substance — the show becomes a well-curated archaeological survey of objects that historically would never have met, but are now happily acquainted.

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