Pet Stains, Puddles, and Full Gospel Neckless

Al Taylor Pet Stains, Puddles, and Full Gospel Neckless presents work made between 1989 - 1992. and includes a series of drawings and three-dimensional works he titled Pet Stain Removal Devices. Studying street puddles and pavement stains led Taylor to construct the plexiglas sculptures as painting surfaces that could be poured upon. 
In 1992, when asked by Ulrich Loock about the relationship of his work to the viewer, Taylor responded, “If somebody… see[s] a bunch of Plexiglas with paint poured on it, what are they going to think? What I want them to see is levitation, literally. I am trying to find a state of suspended belief with this work, something akin to Japanese Noh Theater. If a viewer realizes that they are looking at drawings of levitated urine stains they might laugh, but when they leave the exhibition and they come across a dog piss stain on the street they might approach it differently. Art should give you a new perception, new ways of seeing life. Is how they see it the artist’s decision or the viewer’s choice or a combination of both? I don’t really know, but the pet stain works are just focusing exercises.”
Installation view, Al Taylor







Installation view, "Al Taylor: Pet Stains, Puddles, and Full Gospel Neckless," David Zwirner, New York, 2015.
© 2015 The Estate of Al Taylor.










Full Gospel Neckless (Pipe Bomb), 1997, Pencil and gouache on paper
22 1/2 x 14 3/4 inches, © 2015 The Estate of Al Taylor, Courtesy David Zwirner Gallery





Untitled (Pet Stains), 1990, Xerographic toner with solvent on paper, 35 1/4 x 46 inches
© 2015 The Estate of Al Taylor, Courtesy David Zwirner


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