Thursday, May 4, 2023


What, one might ask, does Burr’s Camp vision of sculpture do to Minimalism? My list is partial (as this project cannot be said to be concluded, and has only gained strength in Burr’s most recent works): Camp fixates on the Minimalist object’s surface. It makes Minimalism purple. Or it makes it shiny. Or, if it keeps the black-and-white neutrality, or retains the naked industrial material, it makes Minimalism all butch and sexy, often by comparing it, via photo-works, to icons of excessive masculinity like Jim Morrison. Camp might then value Minimalist surfaces as “superficial,” but it also invests these surfaces in depth: Camp likes Minimalism’s fakeness, revels in its extreme challenge to nature. Camp turns Minimalism into theater, into so many duplicitous stage sets ripe for the enactment of “drama.” Camp takes a Minimalist form and makes a bar of it, throws an imaginary party around it. Camp makes Minimalism festive. Camp turns Minimalism into objects of decor, into furniture or things to be used. Camp here means smoking a cigarette and snubbing it out dramatically in the rakish ashtray placed on top of a Minimalist form.  
        George Baker's "The Other Side of the Wall" (no longer free online

"Tom Burr owns the foppish gesture ... The starch pressed severity make the attenuation towards the diaristic details all the more fetishistically perverse and good. "

Full: Tom Burr at BortolamiTom Burr at Franco Noero