 |
|||
   |
|||
| Home | ||
| About ISC | ||
| Membership | ||
| News & Events | ||
| Awards | ||
| Sculpture Magazine | ||
| Sculpture Community | ||
| Sculptor's Portfolio | ||
| Artwork for Sale | ||
| Destinations | ||
| Resources | ||
| Site Map | ||
| Store | ||
| FAQ | ||
| Donate Now | ||
| Join Email List | ||
|
                     
The Aldrich Museum
of Contemporary Art Nina Levy: Portrait
Gallery
Levy’s series
of sculpted portrait heads of artists, critics, and art dealers allows
for an unconventionally intimate examination of art world professionals.
Modeled from life, cast in resin and fiberglass, then realistically painted,
the slightly smaller-than-life-size heads hang from the ceiling at each
subject’s actual height. Levy turns the tables on art world personalities,
subjecting them to the kind of close, critical gaze they usually aim at
other people’s work.
Baltic: The Centre
for Contemporary Art Antony Gormley
Since 1990, Gormley has increasingly turned his attention to the matrix of community. This exhibition centers on his recently completed Domain Field, a commissioned installation of over 240 sculptures. Gormley describes a “domain” as a place of becoming, and this work is perhaps his most ethereal. The individual figures were first molded in plaster from the bodies of local volunteers between the ages of 5 and 95, then constructed from stainless steel bars. The finished expanse of sparkling metal seems to generate a field of interconnected energies. Fruit, Body, and Allotment also mediate between individual and collective, containment and extension, between what can be seen and what can be sensed. Gormley sees the forms collected in each of these works as “instruments to make us feel more alive.”
Blaffer Gallery,
University of Houston Fred Wilson: Objects
and Installations, 1979–2000
To date, Wilson has worked with more than 20 museums, rearranging and reinterpreting their collections to reveal hidden biases and ideologies. A catalyst for institutional change, he clears away the cobwebs of entrenched traditions—especially those related to race, gender, and class—to help museums and museum visitors alike see art in a different light. Over the past two decades, Wilson has pursued a rigorous and uncompromising vision. This retrospective demonstrates why he was selected to represent the U.S. in the current Venice Biennale.
Castello
di Rivoli Arata Isozaki:
Electric Labyrinth
In this show, Isozaki resurrects a multi-media installation that he originally created for the XIV Milan Triennale. Almost as soon as it was completed, Electric Labyrinth was destroyed, a casualty of political and social tensions. On May 30, 1968, hundreds of artists, intellectuals, and architecture professors stormed the Triennale building during the press conference and occupied it for the next 10 days. When they left, almost nothing remained of the exhibition of ’60s critical avant-garde architecture. Isozaki, like many of the architects included in the exhibition, sympathized with the growing protest movement and addressed its concerns directly in his work. Twelve curved aluminum panels covered with pointed imagery—scenes of ghosts and violence from ukiyo-e prints, documentary stills from Hiroshima and Nagasaki—structure his room-sized visual and sound environment. Viewers who cross the space activate invisible infra-red beams, and the images come alive: turn and a dead body appears. In Electric Labyrinth, the ruins of the past become the ruins of the future.
The Center for
Craft, Creativity and Design David Nash: Wood
Quarry—the Creative Process
During his recent
residency at the Penland School of Crafts, Nash worked with 20 students
and five faculty members from four University of North Carolina campuses.
This show of new work from the residency includes Nash’s large preparatory
drawings, which he uses to determine the shape of a work before he dissects
the tree with almost surgical precision, as well as the finished, charred
sculptures.
Dallas Museum
of Art The Sensuous
and the Sacred: Chola Bronzes from South India
In the earliest days of Indian temples, deities were enshrined in darkened sanctuaries where worshippers came to pay homage. Under the Chola dynasty (9th-13th centuries), the gods came out of the temples and into the streets for colorful processions. These festival figures made of cast bronze established a new era of creativity and aesthetic splendor in a culture already known for the seductive lines and sublime demeanor of its sculptures and relief carvings. The exhibition features 59 examples of Hindu religious sculpture, all displaying the subtle modeling and fluent outline of form characteristic of the Chola style.
Institute of Contemporary
Art, University of Pennsylvania Polly Apfelbaum
Apfelbaum creates what she calls “fallen paintings,” hybrid works that exist in an ambivalent space crossing painting, sculpture, and installation. Often arranged on the floor, her signature pieces are formed of intricate, nearly psychedelic layers of dyed fabric that re-interpret the eye-popping colors of mass culture—TV, advertising, bags of Wonder Bread—into wild, oscillating spectra. Despite their sensual appeal, Apfelbaum’s works are about ideas. The concepts that drive her practice derive from the body and from looking, calling viewers to think about the pleasure of aesthetic experience and to experience the pleasure of aesthetics. This first museum survey of her work includes a new installation created especially for the ICA.
John Michael Kohler
Arts Center Devorah Sperber:
Pixelated
Sperber’s trompe l’oeil works featuring digital technology and commonplace objects continue a series of exhibitions at the Kohler exploring utility in contemporary art. Using a computer to pixelate pictures, Sperber recomposes the images manually with small manufactured objects: 165,000 pipe cleaners coalesce into a shag rug, 20,000 spools of variously colored thread compose a large-scale “painting.” This technique not only reflects our current digital age, it also recalls Pointillist theories of optics. Some of the works play the illusion/reality game with the aid of rearview mirrors and other devices: framed in the lens, industrial spools of thread transform into a craggy rock wall.
Los Angeles Contemporary
Exhibitions Chris Burden: Small
Skyscraper
In 1994, frustrated by LA County building codes, Burden sketched the first Small Skyscraper. This modest but provocative drawing prompted an invitation from Linda Taalman and Alan Koch of TK Architecture to collaboratively develop an actual structure. Small Skyscraper is a sculpture disguised as a house disguised as a tower. It exploits a loophole that Burden discovered in the code: small buildings may be constructed without a permit if they stay within 400 square feet, four rooms stacked one on top of the other, and under 35 feet high. Even though it adheres to the letter of the law, Burden’s “modern-day log cabin” pushes legal and physical parameters. On view is the prototype, displayed horizontally, of a structure that can be produced from a kit of aluminum parts and constructed by untrained builders with a minimum of tools. After the show, it will be erected on an outdoor site in Topanga Canyon.
Museum of Contemporary
Art at the Geffen Contemporary Juan Muñoz
MOCA is the last stop for this touring retrospective of the late Spanish sculptor. Nearly 60 sculptures, installations, drawings, and paintings from the mid-1980s to 2001 showcase Muñoz’s powerful, enigmatic figures cast in papier-mâché, resin, and bronze. Set in architectural environments, the figures become tools to investigate tensions between private and public space. The exhibition features rarely seen works such as images of empty domestic interiors, banister sculptures, and a street-like passage lined by smaller-than-life iron balconies and hotel signs. With figures or without, Muñoz’s work evinces a sense of mystery and intrigue that never fails to make the viewer complicit in its physical and emotional games.
Museum of Contemporary
Art at the Geffen Contemporary Yutaka Sone: Jungle
Island
Jungle Island is a new site-specific work by the Los Angeles-based Japanese artist, his first major project since moving to the U.S. in 2000. The walk-in installation, which evokes a lush tropical environment dense with plants, features winding trails that viewers can follow. At key intersections, Sone has placed four highly detailed marble sculptures of LA freeway interchanges and their surrounding buildings, streets, and landscape features. The contrast between the built environment of the freeways and the abundant growth of the forest references Sone’s observations of his new home, emphasizing that these networks of roads are the most significant feature of a community defined geographically and psychologically by the car.
Museum of Contemporary
Art at the Pacific Design Center Roy McMakin: A
Door Meant as Adornment
This mid-career survey of the Seattle-based artist explores McMakin’s manipulations of the traditional definitions of furniture and sculpture. Over 80 works explore function, representation, and decoration as components of domestic life that have historically found themselves in opposing camps. McMakin’s career itself has been split between art and design: trained as an artist, he became a strong presence in the design world in 1987 when he founded the Domestic Furniture Company. He later re-entered the art world with a body of sculpture that refers to the domestic realm, blurring the boundaries between utilitarian function and aesthetic form. The exhibition also includes a special outdoor installation - a new sculpture incorporating a seating component, witty word play, and a strong evocation of childhood memories.
Museum of Contemporary
Art Cleveland Julian LaVerdiere
LaVerdiere explores the rich terrain where history, science, and commerce intersect with art. His recent sculpture Firmament: Time Has No Mark by Definition—a tilted canopy measuring 330 feet in diameter—depicts a map of the globe as represented by the United Nations emblem. The surface is activated by a network of lines marking latitude and longitude, blinking red electro-luminescent cables demarcating time zones, and red circles representing military bases. The audio component (composed by sound and conceptual artist Paul D. Miller) includes the sounds of a cesium atomic clock (used to calibrate global positioning systems and ICBM missiles). LaVerdiere challenges us to analyze and evaluate symbols of global power and their effect on individuals and societies around the world.
Museum of Craft
and Folk Art Bella Feldman: War
Toys Redux
Both threatening
and absurd, Feldman’s machine-like forms comment on the futility
of war. She began work on the series in 1991, in response to the first
Gulf War. Her mission then, as now, was to address the destructive power
of war machines that escape our control. “War Toys Redux” features
a recent group of sinister and satirical objects inspired by events leading
up to the 2003 Iraq war. Made of cast iron and blown glass, these new
toys target serious concerns such as germ warfare, counter-balancing menace
with miniature scale and ridiculous motion.
New Art Centre
Sculpture Park and Gallery Gavin Turk: et
in arcadia eggo
While Turk is perhaps best known for his “self-portrait” works, he has since turned his attention away from himself and onto his audience. He is particularly interested in the reactions provoked by art. For example, he recently placed a painted bronze figure in a sleeping bag on the street, so he could watch how people responded. In this exhibition, he continues to push the viewing experience. His new work engages the architectural and landscape history of its site, exploring the tradition of English arcadian landscape, the formal garden, and the placement of classical sculpture within it. Turk uses mythological figures and tales to examine principles of perspective, distorting not just what we see, but also how we see it.
Public Art Fund Mariko Mori:
Wave UFO
The glass atrium of 590 Madison Avenue takes on an otherworldly atmosphere with the addition of Mori’s immense shimmering sculpture. Both three-dimensional object and participatory installation, Wave UFO epitomizes Mori’s ongoing exploration of the relationship between the individual and an interconnected cosmos. It took three years of research to create this fusion of real-time computer graphics, brainwave technology, sound, and state-of-the-art architectural engineering. The result offers a dynamic interactive experience. Three participants at a time may enter the tranquil interior, embarking on an aesthetic, technological, and spiritual voyage that Mori intends to connect individuals to each other and to the world at large.
The Parrish Art
Museum Augustus Saint-Gaudens:
American Sculptor of the Gilded Age
When Saint-Gaudens
began his career, just after the Civil War, Neoclassicism prevailed in
American sculpture—highly finished, idealized, white marble statues.
Although we now say his name in the same breath as Horatio Greenough and
Hiram Powers, by the 1880s, Saint-Gaudens had transformed American sculpture,
introducing materials and techniques that had been virtually unknown,
in particular, bronze, low relief, and “unfinished” surface
treatments. This exhibition features 75 of his sculptures, including reductions
of major outdoor commissions, full-sized works in bronze, marble, and
plaster, portrait reliefs, decorative objects, and coins.
South African
National Gallery Jane Alexander
This survey exhibition features sculptural installations, videos, and photomontages by the winner of the 2002 DaimlerChrysler Award for South African sculpture. Alexander’s figures provoke a sense of uncanny shock. Simultaneously recognizable and unrecognizable features of the South African social landscape, bizarre, mysterious personas claim a hyper-real presence and upset measures of normality. Alexander slices through the norms of indifference, dislocation, and homelessness to reveal the abnormality of political, social, and cultural practices. Not even the rhetoric of heritage and tourism escapes her critique of the “African Adventure.”
Wave Hill Perfection/Impermanence:
Contemporary Ikebana
Ikebana, one of Japan’s
most ancient arts, bridges the gap between man and nature. Originally
part of Buddhist religious practice, it has since evolved into an independent
art form. In recent decades, progressive Japanese artists have combined
ikebana’s approach to organic materials with a vocabulary derived
from installation art. For this show, six artists from Japan have created
new site-conceived, environmental works in the galleries and on the grounds.
Each uses principles of traditional ikebana, including plant elements,
harmony of forms, and meditation on impermanence, to evoke the relationships
among all living things.
|
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
 |
|||
| TERMS AND CONDITIONS |
|
||