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Robin Hill: Case Discussions

Lennon, Weinberg, Inc.
514 West 25th Street, 212-941-0012
Chelsea
January 13 - February 19, 2011
Reception: Thursday, January 13, 6 - 8 PM
Web Site


This is Robin Hill’s first exhibition in New York since 2004, and her fourth at Lennon, Weinberg. Hill is a member of the studio faculty at the University of California at Davis where the interdisciplinary research environment has brought new ideas to the forefront of her sculptural practices.

Her new sculptures are constructed upon on a repertoire of decommissioned laboratory equipment acquired from the university’s “bargain barn,” a flea market of outmoded materiel. Combining carts, gurneys, overhead projectors, Pasteur Pipets with glass, mirrors, mica, cotton and wax, Hill has created enigmatic scenarios that represent systems of creative and scientific inquiry. In both disciplines, the activities of collecting and examining are preludes to understanding and knowledge.

The current exhibition is accompanied by an illustrated catalog with an essay titled “Collecting, Snowflakes, and the Case” written by Kristen Koster, a colleague at UC Davis whose research fields include French literature, art history and critical theory. During a studio conversation, Hill told Koster: “I don’t work with found objects with any sort of nostalgia for the objects. I’m interested in the integrity they have on their own. I take these things and treat them like architectural spaces that are very finely crafted.”

Her work is included in museum collections including the UCLA Hammer Museum, The Fogg Art Museum, the Achenbach Foundation and the Crocker Art Museum. She has received grants and awards from the National Endowment for the Arts, the Pollock-Krasner Foundation and the New York State Foundation for the Arts. Recent exhibitions in California include Kardex at another year in LA, Drawing the Line at Don Soker Contemporary Art in San Francisco and Multipyling the Variations at the University Art Gallery, California State University at Stanislaus that was documented in a catalog with an essay by critic Raphael Rubinstein.

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