Skip to content

Uncanny Objects

September 14 - November 8, 2023

Alexander Calder Untitled, circa 1940 Sheet metal...

Alexander Calder

Untitled, circa 1940

Sheet metal and paint

8½ x 17¼ x 4¾ in; 21.6 x 43.8 x 12 cm

Joseph Cornell Untitled (Yellow Sand Fountain), 19...

Joseph Cornell

Untitled (Yellow Sand Fountain), 1959

Mixed media box construction

13 3/16 x 7 7/8 x 3 7/8 in; 33.5 x 20 x 9.8 cm

Joseph Cornell Untitled, 1960s Collage 12 x 9 in;...

Joseph Cornell

Untitled, 1960s

Collage

12 x 9 in; 30.5 x 22.9 cm 

Fausto Melotti Senza titolo, c. 1973 Brass relief...

Fausto Melotti

Senza titolo, c. 1973

Brass relief

25 9/16 x 23 5/8 in; 65 x 60 cm

Karen Wilberding Diefenbach Pastorale #2, Old Oliv...

Karen Wilberding Diefenbach

Pastorale #2, Old Olive Tree, 2023

Oil on canvas

47.5 x 39.5 in; 120.7 x 100.3 cm

Agostino Bonalumi Progetto, 1971 Mixed media on pa...

Agostino Bonalumi

Progetto, 1971

Mixed media on paper

19 5/8 x 27 1/2 in; 50 x 70 cm

Framed: 20 1/4 x 28 3/4 x 1 1/2 in; 51.4 x 73 x 3.8 cm

Jan Dibbets Orvieto, 1989 Color photo, pencil, wat...

Jan Dibbets

Orvieto, 1989

Color photo, pencil, watercolor on paper on cardboard

Sheet: 27 x 26 1/2 in; 68.6 x 67.3 cm

Framed: 44 x 43 1/3 in; 112 x 110 cm

Press Release

Barbara Mathes Gallery is pleased to announce Uncanny Objects, an exhibition of sculptural works exploring the compelling strangeness captured by Freud’s theory of the uncanny. For Freud, the uncanny is the feeling elicited when the boundaries between familiar and unfamiliar become blurred. Automata, shadows, mirrors, and doubles are frequent emblems of the uncanny, producing an uneasy marriage of the animate and the inanimate, the alive and the dead, the real and the imaginary.

In Alexander Calder’s Untitled (1940) a sharp red crescent balances on three equally pointed legs. These appendages seem poised, mid-movement: Calder often emphasized that when he cut out his plates he wanted them to be “more alive.” Drawing upon the suggestive formal vocabulary of surrealism, Untitled epitomizes the dramatic biomorphism of Calder’s mature work.

While the motion of Calder’s stabiles is implied, Joseph Cornell’s Untitled (Yellow Sand Fountain) (1959) is a playful box whose movement requires the participation of the spectator. When tipped over, the sand funnels through an hourglass made of broken glass and string, revealing a hidden starfish and cork ball. Cornell here provides a whimsical meditation on the passage of time and the recurrence of memories typical of Freud’s theory of the uncanny.

Like Cornell, Louise Nevelson often used found objects in her assemblages. Subsumed into architectural monochrome, these objects become unfamiliar players in an interchange of light and dark. Dawn’s Landscape IX (1975) is part of a rare white-painted series from 1975 in which an intricate arrangement of wooden objects creates a complex play of shape and depth – doubles and shadows – establishing what Nevelson referred to as “the fourth dimension.”

Using unconventional materials, biomorphic abstraction, imagined worlds, doubling, and repetition, the artists presented here make known objects strange and bring intimacy to the unfamiliar. The exhibition will also include works by Agostino Bonalumi, Frank Bowling, Jan Dibbets, Karen Wilberding Diefenbach, and Fausto Melotti.

Contact Information

Barbara Mathes Gallery is located at 22 East 80th  Street.  The gallery is open Monday through Friday, 10am to 6pm.  For more information or images, please contact the gallery at 212-570-4190 or art@barbaramathesgallery.com.