“Hypervolumes in hyperspace” is how Robert Smithson once described Robert Grosvenor’s sculptures, and the description feels fresh nearly a half-century later. So too do the sculptures Grosvenor has on view in his latest exhibition at Paula Cooper, which span over three decades, from the 1970s to 2006. But it is the artist’s diminutive and staunchly quotidian photography, recently gathered in a book published by Karma, that seals the exhibition as an especially remarkable outing for the widely shown artist. Though Grosvenor has long taken the pictures, distributing them to friends as gifts, this is their first appearance in a gallery setting. One especially arresting image depicts two donuts floating seaward, another a goat seeking shade under a half-buried pipe. Taken alongside the sculptural works, these photographic glimpses offer an insight into Grosvenor’s idiosyncratic eye, subtle humor, and inventive post-minimalist sensibilities.
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