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Baltimore
Museum of Art Since the 1960s,
artists have been hard at work—pushing the limits of what is considered
art. “Work Ethic” brings together nearly 80 objects by an international
group of artists to explore the nature of “work” in artwork.
From video recordings of Bruce Nauman’s obsessive, self-imposed studio
tasks to a machine by Roxy Paine that produces a painting in the absence
of the artist, the exhibition considers how artists have grappled with
what is considered legitimate artistic labor. Iconic works by Frank Stella
and Robert Rauschenberg are featured along with contemporary works by
David Hammons, Vito Acconci, Francis Alÿs, Fischli & Weiss, Gabriel
Orozco, Richard Serra, and Mierle Laderman Ukeles (among many others)
in an effort to challenge the rules of the workplace and the art world.
Bellevue
Art Museum Bridging sculpture,
performance, fashion, and architecture, Orta’s works are functional
and based on the idea of refuge. Her designs give assistance in natural,
social, and political disasters and provide shelter/protection for people
living in precarious or marginal situations. This exhibition features
multi-functional clothing, survival kits, and environments or modular
dwellings developed in collaboration withcommunity groups from around
the world that function practically and metaphorically to address the
plight of those at risk. Orta calls her work “Instigator Sculpture,”
a “catalyst between utopia and reality.”
Corcoran
Gallery of Art Sanborn has been
working on Critical Assembly, his comprehensive installation about the
Manhattan Project and the origins of U.S. nuclear weapons, since 1998.
The work is both a re-creation and an interpretation of the experiments
carried out at the Los Alamos Scientific Laboratory in New Mexico from
1942 to 1955. Sanborn began by gathering original laboratory furniture,
equipment, and hardware from machinists, physicists, and a variety of
other workers. To complete the installation, he fabricated additional
parts. The finished work depicts the Los Alamos lab as it might have appeared.
Critical Assembly suggests a secret site of major discovery—remote,
menacing, and overwhelming in its implications.
DeCordova
Museum and Sculpture Park For (Sub) Surface,
the latest in an ongoing series of site-specific installations in DeCordova’s
Grand Staircase, Weisberg violates the purity of the 40-foot-tall elevator
shaft wall. By introducing plaster and glass sculptural elements into
the surface, she creates an illusion of potential catastrophe, as the
wall seems to rupture and break apart. The museum, assumed to be an eternal
storehouse of cultural treasures, metaphorically undergoes the fate of
all architectural constructions: decay, dissolution, and eventual collapse.
Dia:Chelsea Dia recently commissioned
Pardo’s large-scale plywood structure, which is designed to adapt
to a variety of uses. Created in the artist’s Los Angeles studio,
the kit was assembled on site in Dia’s first-floor gallery, which
Pardo redesigned, along with the bookstore and lobby, back in 2000. Prototype
consists of computer-generated forms based on irregular geometries laser-cut
from plywood. As a full-scale model for a prefabricated structure, it
can be modified and reassembled depending on function—outdoor pavilion,
residence, or performance venue.
Haggerty
Museum of Art Denes’s environmental
works establish unique links between the built environment and the natural
world. This retrospective features over 60 projects, represented by 110
drawings, models, and photographs dating from 1968 to the present. Foremost
among the included works are Wheatfield—A Confrontation (1982), a
two-acre wheat field planted in Lower Manhattan’s Battery Park, and
Tree Mountain—A Living Time Capsule (1992–96), a huge manmade
mountain of 11,000 trees planted by 11,000 people in the gravel fields
of Ylöjärvi, Finland. Denes is currently designing a 25-year
masterplan for the Nieuwe Hollandse Waterlinie in the Netherlands. Her
goal is to unite a 100-kilometer-long string of forts dating from the
16th to the 19th centuries, incorporating flood and water management,
urban planning, historical preservation, landscaping, and tourism.
John
Michael Kohler Arts Center The artists featured
in “Pins and Needles” use or reference handicraft techniques—crochet,
knitting, embroidery, lace-making, sewing, twining, beading, braiding,
needlepoint, latch hook, and weaving—to make works that physically
and conceptually challenge the boundaries of typical “handiwork”
and that comment on the place of such traditions in art and culture. For
them, craft and folk techniques serve as a specific link to personal history,
as a metaphor for time and memory, as a subversive act, and as a way to
explore contemporary society. Participating artists include Ruth Asawa,
Tracy Krumm, Norma Minkowitz, Jeanne Silverthorne, Ann Hamilton, Kyoung
Ae Cho, and Sonya Clark.
Kniznick
Gallery, Women’s Studies Research Center, Brandeis University Holmes’s signature
sculptural form, an archetypal dress, pays homage to generations of anonymous
women who engaged in crochet, sewing, and embroidery. She incorporates
a wide range of found materials into her works, including metal, plaster,
glass, ceramic, and crocheted textiles. Frequently nostalgic, sometimes
humorous, her sculptures underscore the struggles of women’s lives.
For Holmes, the repetitive regularity of crochet becomes emblematic of
the patterns people live by—emotional, social, behavioral, and spiritual.
This show features her large-scale works.
MIT
List Visual Arts Center Joo’s interest
in science informs his sculptures, videos, and installations, which extend
beyond an examination of the effects of race and gender on identity to
explore how science, religion, and the media shape consciousness. Chosen
to represent South Korea in the 2001 Venice Biennale, the second-generation
Korean American first gained international attention in 1994 when Damien
Hirst included him in “Some Went Mad, Some Ran Away” at London’s
Serpentine Gallery. Joo uses new technologies and bizarre materials for
deeply eccentric purposes. With urinal cakes, synthetic testicles, laser
beams, artificial lambs wool, mercury, bleach, and hydrochloric acid,
he re-creates the substances, machineries, and elastic identifies of the
contemporary world.
Museum
of Contemporary Art Among the most celebrated
of his generation of Japanese artists, Nara is recognized for his neo-pop
sculptures and paintings of big-eyed, alternately sad, mischievous, and
malevolent children. His work expresses the alienation and fierce independence
of childhood, inviting viewers to reconnect with the defiant spirit that
comes with youthful optimism. While Nara’s work is characterized
by a flat, graphic style, his artistic influences range beyond the realm
of anime to embrace Renaissance painting, literature, graffiti, and punk
rock. His sculpture is as steeped in traditional craftsmanship as it is
in popular culture and slick animation. This show features sculptures,
drawings, and paintings completed over the last few years, many of which
have never been exhibited.
Museum
of Contemporary Art Pacific Design Center Best known for creating
sensuous environments and tactile organic forms, Neto has transformed
MOCA's space at the Pacific Design Center with a new large-scale sculpture.
A soft, three-tiered translucent tent—made from his trademark hosiery-inspired
fabric—hangs from the ceiling and fills the room with the aromas
of chamomile, lavender, and oregano. Visitors are encouraged to enter
the installation through one of three openings and to explore its various
internal chambers. Neto's unique combination of formal sophistication
and appealing forms provides seductive stimuli for the senses and the
mind.
Museum
of Glass To create her sensuous,
organic forms, Neff blows molten glass, then twists and turns it, performing
irregular motions as it cools to obtain unpredictable results. The finished
sculptures retain an appearance of fluidity and graceful motion. Her work
subtly conveys a sense of being in flux. “Becoming” investigates
the relationship between growth and time, body and mind, and motion and
stillness. Neff’s show is one of three concurrent exhibitions at
the museum (photographer Michael Kenna and sculptor Mayme Kratz are also
featured) devoted to the natural world as inspiration and subject matter.
Saint
Louis Art Museum The 17 sculptures
included in this exhibition offer an intimate exploration of Rosso’s
working process and innovations. Five works from the sculptor’s mature
style provide a thematic focus: each is represented by distinct castings
in wax, plaster, and bronze, showcasing Rosso’s pioneering experiments
with materials and casting techniques—among other accomplishments,
he found a way to arrest lost-wax bronze casting in mid-course, so that
the intermediate wax cast could be retained. His extensive experimentation
exemplifies how sculpture was transformed during the late 19th century,
with vigorous sketchy modeling replacing realistic detail and wax elevated
to the status of bronze. Rosso wrung endless variations from his original
clay models, casting and recasting in a career-long pursuit of sculptural
production and reproduction.
Sonoma
County Museum This two-part exhibition
features prints, models, and aerial photographs of Roden Crater, Turrell’s
monumental project in the Arizona desert, and Raemar (1969), a rarely
seen early work. Last exhibited at the Stedelijk Museum in 1976, Raemar
is a room-sized installation composed of 12 fluorescent lights behind
a screen wall, which is erected in front of a bearing wall in the gallery.
Viewers enter a small room in which the far wall appears to float in a
halo of light. Like all of Turrell’s installation pieces, Raemar
plays with visual perception, makes space indefinable, and questions how
we perceive light and space. According to the artist, “When you reduce
light and the pupil opens, feeling comes out of the eye like touch.”
Tate
Britain This retrospective
includes over 30 sculptures from Chadwick’s 50-year career, ranging
from some of his earliest surviving mobiles to the monumental pieces of
his last years. The British sculptor was launched onto the international
stage at the Venice Biennale in 1952. When he beat Giacometti to win the
International Prize for Sculpture in 1956, it was the sensation of the
Biennale. During the ’50s, he developed a new way of working that
combined a welded iron armature with an artificial stone compound of gypsum
and iron filings. This material provided an evocative, textured surface
that continued to grow richer over time. Bronze dominated his work until
the 1990s, when he made a number of monumental sculptures in polished
steel, two of which are displayed in the sculpture court. Chadwick’s
archetypal abstractions derive from the human figure and animal forms.
While the animals explore aggression and vulnerability, the later figures
examine details of human movement, interaction, and sexuality.
Tate
Liverpool German sculptor and
filmmaker Rebecca Horn has created site-specific installations for the
last two decades. The Tate has extensive holdings of her work, and this
exhibition presents a number of key pieces, including Ballet of the Woodpeckers.
Originally created for a Viennese asylum, this large-scale installation
features several mechanical hammers that appear to strike eight large
mirrors, threatening to shatter viewers’ reflections. Also included
are Horn’s “body extension” works, a series of sculptures
designed to be attached to a performer (films of the performances are
also being screened) and concerned with the body, isolation, and vulnerability.
Virginia
Museum of Fine Arts Combining extreme
realism with extreme distortion, Lazzarini re-creates familiar objects
(to scale) using their original materials, while deforming them in seemingly
impossible ways. The results are uncanny and unsettling. This show includes
his two most widely recognized sculptures: an installation of four skewed
skulls and a warped pay phone. A selection of works on paper provides
insight into his exploration of classical sculpture and studies of human
anatomy. Lazzarini’s process embraces cutting-edge technology (CAD
rendering and rapid prototyping) and traditional sculptural techniques
(carving and casting). Appearing to expand and contract as viewers shift
vantage points, the works seem to collapse on themselves, or, as Lazzarini
says, they “slip toward their own demise.”
The
Walters Art Museum While several recent
exhibitions of Egyptian art have subordinated aesthetics to scholarly
thematics, “Eternal Egypt” revels in beauty. The 144 objects,
which range from the pre-Dynastic period to the Roman occupation, demonstrate
the astounding variety of Egyptian art over a 3,000-year period. From
colossal sculptures and architectural pieces to intricate jewelry and
precisely rendered statuettes, the consummate skill of Egyptian sculptors
is revealed in stone, wood, terra cotta, ivory, gold, glass, and bronze.
Highlights include a striding figure from the Old Kingdom, whose posture
torques to follow the wood grain, and a monumental head of Amenhotep III
sensitively carved in calcite. In conjunction with this exhibition, the
museum has mounted two specialized shows, including “Tools and Models:
The Craft of the Sculptor in Ancient Egypt,” which focuses on stone-carving
techniques and includes many examples of the so-called sculptor’s
models or trial pieces.
Watershed:
The Hudson Valley Art Project “Watershed”
is a pilot program of commissioned artworks and educational initiatives
designed to raise awareness of the imaginative and physical landscapes
of the Hudson River Valley. The project presents new works by Lothar Baumgarten,
Matthew Buckingham, Constance De Jong, Peter Hutton, Matts Leiderstam,
Christian Philipp Müller, Lynne Tilman, George Trakas, James Welling,
and Pae White in 15 sites through the Hudson Valley. Featuring writers,
filmmakers, and photographers, as well as artists who pursue conceptual
and hybrid art practices, “Watershed” encompasses a wide variety
of forms. Two of the sited projects—Trakas’s Beacon Point Project,
commissioned by Minetta Brook in collaboration with Dia Center for the
Arts, and De Jong’s Speaking of the River, commissioned by Minetta
Brook with Scenic Hudson—will become permanent additions to the Beacon
waterfront. Many of the other eight works, installed in Beacon, Bear Mountain,
Garrison, New Paltz, Poughkeepsie, and Annandale-on-Hudson, extend beyond
their physical sites through artists’ books and CDs. |
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