Alzamoras sculpture, concept meets craft at a very high level, a union as rare as the teeth of the proverbial hen. With the general de-skilling of art and the rise of conceptual strategies, which have gone hand-in-hand since the early 1960s, it has been too little noted that what amounts to an old-fashioned, Henry-Fordish division of labor has taken over in the art world.
There is a story about how Bonnard, as he grew older, became increasingly obsessed with the juxtaposition of color, to such a degree that when he was working with a pigment, he would walk among his canvases and see where the color might be applied in anything he was doing, to get just the effects he was after.
Several years ago in conversation, Sally Mann said that once she adopted the wet collodion process for taking photographs, she became aware of making graven images. This exhibition is her most vivid demonstration of the truth of that idea.
It was upsetting and exhilarating in equal measure to see a selection of those paintings extracted from the detritus of Kelleys sprawling artistic career and made to stand for something important in the cold confines of Hauser & Wirth. Separated from the stuffed animals, videos, sculptures, and architectural models that crowded MoMA PS1 a few years ago, Kelleys paintings become an uncomfortable retrospective, inevitably shadowed by the artists suicide in 2012.