New York Times 2015

Roberta Smith, "Kooks and Villians"

“This veteran sculptor excels at manipulating a malleable material called Apoxie-Sculpt that apparently comes in a rainbow of colors. His latest wall reliefs and floor pieces find him mixing and matching them in oozing, looping, blobby patterns and forms with special panache.”
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We Go To Thier Faultering

“Its sci-fi/horror vibe invokes the kind of monstrous life forms that have been imagined floating around the cosmos, as well as the monsters floating around the deepest levels of the ocean, where life on Earth most likely began.”
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Los Angeles Times 1997

For Daniel Wiener, drawings rarely serve such preparatory purposes. Rather than tracing the stages of an idea’s development, the New York-based sculptor’s images are complete unto themselves.

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Los Angeles Times 1996

Daniel Wiener’s five pint-size sculptures at ACME Gallery hang from the ceilng on nearly invisible lines of monofilament. Loaded with associations that are difficult to articulate. These delightfully indescribable blobs of hydrocal, Sculpey and wire initially have the presence of words that get stuck on thc tip of your tongue.

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While large-scale installations have come to dominate the three-dimensional arena of contemporary art, sculptural objects have undergone their own transformation-from the autonomous, self-sufficient works of bygone. Modernism to referentially rich, materially suggestive, “things.”
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