Review/Art; Stacks of Odds and Ends That Tease the Mind
THE French artist known simply as Arman is a master orchestrator of everyday objects, which makes his retrospective at the Brooklyn Museum great fun. But his work rarely progresses beyond the level of light entertainment. It is clever in concept, skilled in execution but eerily devoid of emotional depth. Venture beneath the surfaces of his often flamboyant accumulations of saxophones, paint tubes, car parts or other manufactured goods and you tend to come up empty. The show, "Arman 1955-1991: A Retrospective," brings together 60 sculptures that trace the course of a nearly 40-year career spent in New York and the artist's native France. From 1962 there is a wall relief in which 20 old, black banged-up typewriters are arranged in rows against a bright red backdrop. From 1973 comes "Achilles Syndrome," a pile of shoe trees arranged in the shape of a foot. To make "Going Up" from 1981, Arman welded dozens of crocodile pliers into a silvery veil that also suggests a school of fish rising to the surface. The freestanding "Office Fetish" of 1984, a pyramid of black telephones, is a slightly ominous ode to progress.