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Baltic
The Centre for Contemporary Art Puryear’s organic
and semi-abstract forms are realized in wood, which he often paints and
combines with wire and steel. This simple, reductive vocabulary produces
sculptures with a strong and direct physical presence, based in traditional
craft techniques. An extensive knowledge of nature, wildlife, history,
and geography, as well as an interest in Native American, African, Scandinavian,
Japanese, and Arctic cultures informs Puryear’s work. His sculptures
often present dual meanings in both their physical form and their meaning.
This show features recent sculptures, including two new large-scale works
created for Baltic. The Baltic is also featuring a new large-scale installation
by Eva Grubinger and an ambitious new multi-screen film installation commissioned
from Jane and Louise Wilson.
Bellevue
Art Museum This exhibition of
newly commissioned work by three of the Northwest’s most recognized
ceramic artists focuses on personal interpretations of the human form.
The figures in Warashina’s “Real Politique” series include
a range of symbols, styles, and references. Each one marks a particular
event, including war, internment camps, and environmental destruction.
Takamori draws inspiration from Tang Dynasty tomb figures and traditional
Ukiyo-e prints. Each hand-painted figure resembles an individual the artist
remembers from the small village in which he was raised. Fitch’s
abstracted and colorfully glazed figures appropriate pop-culture influences
from around the world, combining Egyptian, Asian, and Western motifs into
hybrid knick-knacks.
DeCordova
Museum and Sculpture Park Since the late ’70s,
Keck has made painted wood figurative sculptures, many of them mechanical
and interactive. This retrospective features over 50 works and includes
related prints and preparatory drawings. Keck’s idiosyncratic and
stylized characters exist on the edge of humanity and consciousness: mechanical
and utilitarian figures like scarecrows, dummies, toys, puppets, robots,
and automatons; semi-sentient figures like somnambulists, ghosts, and
monsters; and a host of androgynous “men” engaged in quasi-ritualistic,
mysterious activities. Influenced by folk and vernacular arts, especially
those associated with carnivals and the circus, as well as visual elements
from vaudeville, Glam Rock, Punk, and New Wave, her work leavens fear
with humor. It grapples with issues of control versus free will, the relationship
of the conscious to the subconscious mind, and the mysteries of self-awareness,
sleep, and ultimately, death.
Fondation
Cartier pour l’art contemporain Othoniel began his
career by making sculpture in sulfur, lead, wax, and phosphorus. In 1993,
he discovered glass, exploiting its imperfections and irregularities.
Transformation, transmutation of matter, rites of passage from one state
to another—all of these reflect another interest fundamental to the
artist’s work: traveling. In his installations, Othoniel sets up
his glass creations—poles, necklaces, and beads—for the fleeting
pleasure of a temporary traveling companion, who is both a stranger and
an accomplice. His pieces mingle with their context like integral organisms,
absorbing shadow and refracting light. Othoniel’s new indoor/outdoor
project, created in collaboration with the artists at the International
Glass Art Research Center in Marseilles, is conceived as a pendant to
the Fondation Cartier’s glass building designed by Jean Nouvel.
Fondazione
Prada Since the early 1960s,
Paolini (perhaps the most intellectual of the Arte Povera artists) has
investigated the artistic process from a conceptual point of view, looking
at its methods and tools and exploring the work’s relationship with
space and time. Since the ’70s, his works have taken on a scenographic,
theatrical character, as he continues to study the conventions of looking
at artworks and the relationship of the artist, the work, and the viewer.
Art history (the double and copy) becomes the ground for a self-reflective
meditation on art. This show focuses on his early output from 1960 to
1972 and includes two major new works.
Hirshhorn
Museum and Sculpture Garden, Smithsonian Institution As part of its ongoing
“Directions” program showcasing contemporary artists and ideas,
the Hirshhorn presents the first solo museum show for DC-based Steinhilber.
Steinhilber, who reconfigures everyday objects into whimsical forms, uses
clothes hangers, garbage bags, and plastic tubes filled with soda to create
three distinct sculptural projects that respond to the architecture of
the museum’s lobby.
Institute
of Contemporary Art Weathersby mines
the commercial enterprises of cleaning, home repair, art installation,
and other services to create temporary installations. Light, together
with the dust and detritus accumulated during these activities, becomes
the subject of his site-specific works, which he documents with videos
and photographs. Weathersby uses his commercial enterprise Environmental
Services as a means to support and create his work. Clients hire him to
perform a service and give him permission to create temporary works during
the process. For this solo exhibition, he has created new work made while
performing various cleaning and installation tasks at the ICA.
Louisiana
Museum of Modern Art Originally trained
as a sculptor, Demand has become known for his photographic work and,
more recently, his 35mm films. In a highly conscious way, he plays with
the concepts of artificiality and authenticity. Using paper and cardboard,
Demand sets up tableaux, which he then photographs. The resulting images
depict depopulated, almost shadowless rooms and places, strangely inauthentic
and disturbingly uniform. As unreal as they seem, these bizarre, second-hand
spaces are based on actual places, seen by Demand in photographs and painstakingly
re-created in his models.
Museum
of Contemporary Art MOCA’s “Curve
Series,” an exhibition program devoted to contemporary art, premieres
with the work of Tara Donovan. Donovan transforms massive amounts of ordinary
materials such as electrical cable, stacked tar roofing paper, Elmer’sTM
glue, as well as toothpicks and pencils by the thousands, into installations
that yield surprising and completely unpredictable effects. In Nebulous
(2002), for instance, miles of twisted and wrapped ScotchTM tape coalesced
into an undulating, atmospheric floor piece. Donovan’s new work for
MOCA was created from a myriad of paper plates.
Museum
of Fine Arts Buvoli bases his
work on the aspiration to flight as a means of escape. Since his childhood,
he has worshipped heroes—not mythological gods but popular actions
heroes such as Spider-Man and Daredevil. His boyhood infatuation influenced
his desire as an artist to create works that both pay homage to the superhero
and dissect the notion of the individual. His Not-a-Superhero comic book,
sculptures, and video series, as well as his Flying: Practical Training
for Beginners and Intermediates animated films and installations, focus
on flight as the skill most necessary for
Philadelphia Unconventional Three-Dimensional Through November 13, 2003 “Unconventional
Three-Dimensional” features recent works by Michael Gitlin and Michael
Zansky that resist being categorized as either installation or object.
Both artists create sculptures that involve the viewer without falling
into the genre of installation and without asking for participation. Each
asserts the idea of originality and reflects on the history of 20th-century
sculpture, while denying easy involvement with pop iconography and political
agendas.
London Common Wealth Through December 28, 2003 This group exhibition brings
together five contemporary artists from Europe and Latin America to explore
the meanings, implications, and politics of the words “common”
and “wealth.” The collaborative team of Jennifer Allora and
Guillermo Calzadilla have contributed Landmark, a newly commissioned work
that re-creates the cratered landscape of Vieques—an island used
by the U.S. military for bombing practice. Thomas Hirschhorn’s Hotel
Democracy, another new work made for this show, consists of a walk-through
model building covered with images of the struggle for democracy. Large-scale
installations by Carsten Höller and Gabriel Orozco are also featured.
Los Angeles Lee Bontecou: A Retrospective hrough January 11, 2004 Bontecou enjoyed early
success in the art world; even Donald Judd called her “one of the
best artists working anywhere.” She had her first solo show at the
Leo Castelli Gallery in 1960—the only woman in the Castelli stable—and
a 1972 retrospective at the Museum of Contemporary Art in Chicago. But
by 1975, Bontecou withdrew from the New York art scene and moved her studio
to rural Pennsylvania, rarely showing her work and refusing to cooperate
when curators approached her. The sculptures and drawings she has produced
over the last 30 years are little known and have never been seen publicly—until
now. The 125 pieces in this exhibition range from 1957 to the present
and include the seminal works of the ’60s that bridge masculine and
feminine, human and machine. Her imagery and subjects range from the dark
orifices of her earliest pieces to a pronounced ecological emphasis in
her sculptures of flowers, fish, and birds, to her recent preoccupation
with forms resembling celestial bodies.
Bronx, New York Hudson River Projects: Brandon Ballengée, Eve Andrée Laramée Through November 30, 2003 Exploring the ecology
and geology of the Hudson River, Ballengée and Laramée engage
in an inquiry that blurs science and art by using methods of mapping and
observation. The installations overlook the Hudson, providing visitors
with an opportunity to consider their own positions as consumers, students,
and guardians of the river’s resources. Collecting specimens is at
the core of Ballengée’s work, which surveys aquatic biodiversity
at various points in the river. His installation features maps, scans
of specimens, and tanks filled with aquatic life. Laramée is interested
in the ways in which cultures use science and art as devices or maps to
construct belief systems. In this work, she explores the structure and
form of the river as determined by geological history. Her installation
consists of a three-dimensional model of the river made of cast sugar. |
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