Brooklyn Rail - Art Review - September 18, 2019
The Return of Tom Doyle signals an attempt to resurrect the career of a sculptor who in reality never really “disappeared,” but who remained blasé through most of his life to the vagaries of the art world. The exhibition opens with Shiloh (c. 1959) an early, medium-sized sculpture that sits on the floor and stands about waist high. Doyle, who died in 2016, made Shiloh a year or so after Stillman (1958), the work he considered his breakthrough sculpture. Like Stillman, Shiloh is constructed from a variety of found wood pieces jointed together. But where Stillman retains a heaviness that is the bulk mass of its wooden composition, Shiloh is undulant, rippling like a ribbon cast to the wind.