Not exact matches
Dan Coombs has suggested that the abstract paintings of Tomma Abts are better understood «not so much
as material
objects in the abstract painting tradition but
as surrogate people with their own personalities.
Toying with the audience's sense of repulsion but also attraction, the
objects and videos in the exhibition can be seen
as surrogates for intimacy in an age of digital dissociation.
Lee's
objects and materials are loaded with immediately identifiable referents, all of which can be read
as metonymic or metaphorical
surrogates for broader concepts like femininity, masculinity, commodity or self - reflection.
But he consciously makes a distinction between his work and that of his close circle of peers on the West Coast: «Bruce [Nauman] was very much concerned with process, and Chris [Burden] was not so interested in video
as he was in the single iconic moment, but I was immediately intrigued by how the videotape itself could be an art
object, a form that when watched would not be a
surrogate explanation for some previous event, but a narrative body itself.»
Allan McCollum, a self - educated artist who was questioning the uniqueness ascribed to artworks, created 40 Plaster
Surrogates (1984), a huge series of
objects that appear like paintings but which are actually blank, theatrical stand - ins for such, and point to the era's irony and humor
as dominating artistic devices.
These
objects serve
as surrogate paintings for the artist, incorporating elements that can not function in two dimensional space.