Robert Breer is both a film-maker and a sculptor. Using innocent names like “creepy,” “rug,” or “float,” Breer has, since the 1960s, created kinetic sculptures in a dazzling array of scale and multiplicity. Designed to resemble overturned teacups, crumpled sheeting, or other vaguely utilitarian detritus, the objects meander automatically at
a snail’s pace, altering direction when obstructed. In all of Breer’s constructions we see both a keen attention to engineering, materials, and craft, like other minimalist and serial sculpture of his time. But Breer’s work tends toward the unexpected, the parodic—playfully out of control.

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