»Tom Sachs vs. Tom Sachs

Although I have not seen Tom Sachs's massive bronzes at Lever House, I did walk through the Animals exhibition at Sperone Westwater.

The title of the exhibition might as easily have been Sounds, rather than Animals: the sounds of an absent cat, of tools on their racks, or deadened (or amplified) pianos, and especially of animals becoming extinct -- all these sounds played an important role in the pieces. The Waffle Bicycle broadcast the adhan, the Islamic call to prayer, from loudspeakers mounted to a massive modified bicycle. The bicycle has all of the necessary ingredients for making waffles, from the live chickens for producing the eggs to the refrigerated whipped cream for topping the end product.

I first encountered Tom Sachs's work in the infamous Barney's Nativity display, and more recently on the cover of Dana Thomas's Deluxe: How Luxury Lost Its Luster. I am still uncertain about my grasp on the intersection of consumer culture and art as Tom represents it, but I enjoy the very visceral presentation of his work in the gallery setting. Tom brings a lot of surprisingly frank and violent ideas to his outwardly-calm pieces, such as the wood block with King Heroin burned onto gold leaf.