International Sculpture Center

   


December 2003 Vol.22 No. 10
A publication of the International Sculpture Center

 
Itinerary

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Richard Serra, Clara Clara I

Addison Gallery of American Art
Andover, Massachusetts
Richard Serra Prints: A Survey
Through March 29, 2004

Serra began making prints in 1972. Since then, he has produced an innovative body of work as large as it is varied. Conveying a sense of weight, instability, and potential motion, his graphic works provoke reactions similar to those experienced in the presence of his sculpture. Far removed from self-contained, illusionistic conventions, his prints deny representational associations. Whether small etchings or monumental silkscreens, Serra’s prints demand to be experienced both visually and physically.
Tel: 978.749.4015
Web site www.addisongallery.org


Nedko Solakov, "The Creatures," From new Noah's Ark
Casino Luxembourg
Luxembourg
Nedko Solakov: A 12 1/3 (and even more) Year Survey
Through March 7, 2004

Since the late 1980s, Solakov has used storytelling to achieve his artistic goals. His stories take shape within a range of poetic, critical, and frequently humorous work—installations, videos, performances, drawings, and paintings—in which he tackles personal as well as universal themes. This retrospective, the first for the Bulgarian artist, brings together most of his major works, combining them in a master narrative that will change as the show travels. The exhibition will also be shown at the Rooseum Malmö and the O.K. Centrum für Gegenwartskunst Linz through January 30, 2005.
Tel: +352 22 50 45
Web site www.casino-luxembourg.lu


Lint (Ben Butler and Rena Leinberger), Waiting
Evanston Art Center
Evanston, Illinois
Waiting: A Sculpture on the Grounds Project by Lint
Through Spring 2004

Waiting, a site-specific installation by emerging Chicago artists Ben Butler and Rena Leinberger (or Lint as they are known when working in collaboration), references the rooflines and chimneys of the Art Center’s headquarters, the 1929 Clarke House. The sculpture is seemingly left in transition. Is this “house” rising up through the earth or slowly submerging into the ground? While the notion of a force mimicking nature is an important facet of the work, the character of its unseen movement remains deliberately ambiguous. For the artists, the primary goal was to instigate a dialogue between the actual house and the sculpture. The dynamic interplay provokes a reconsideration of the spaces we inhabit and their value.
Tel: 847.475.5300
Web site www.evanstonartcenter.org


Jim Roche, After Five
Gulf Coast Museum of Art
Largo, Florida
Jim Roche: Sense of Place
Through January 25, 2004

This exhibition surveys 30 years of Roche’s output in a variety of media, from sculpture and ceramics to performance, video, and film. Beginning with his early “Potted Mama” series, it follows his career through narrative-based audio performance works and installations such as All in my Background and Tree Grave Site. His recent low-relief connected wall sculptures are also featured.
Tel: 727.518.6833
Web site www.gulfcoastmuseum.org


Installation view of “Other Criteri”
Henry Moore Institute
Leeds, U.K.
Other Criteria: Sculpture in 20th Century Britain
Through March 28, 2004

More than 20 years have passed since Whitechapel’s seminal exhibition “British Sculpture in the 20th Century.” Following the lead of that show, the story of sculpture in this period has conventionally been told from a narrow viewpoint. “Other Criteria” proposes a different view of 20th-century British sculpture. By following the activities of the Henry Moore Institute in developing collections that seek to document sculpture wherever and however it happens, the exhibition includes a diverse range of evidence that reveals the “before, during, and after” of sculptural production—from initial conception to the afterlife of reception.
Tel: +44 113 246 7467
Web site www.henry-moore-fdn.co.uk


Claudia Bernardi, Video still from Agua y Tiempo/Water and Time
Intersection for the Arts
San Francisco
Claudia Bernardi
Through January 24, 2004

Agua y Tiempo/Water and Time, a new installation by resident artist Claudia Bernardi, investigates the physical, emotional, philosophical, and biological properties of water and time. Having worked extensively in sculpture, she moves into new artistic territory here by incorporating video and sound. Her exploration of the elusive and intangible aspects of these elements, which she ties to memories, draws on her involvement with human rights issues and her active investigations with the Argentine Forensic Anthropology Team (AFAT). For Bernardi, the effect of time on the evolution of earth, humanity, and history becomes a source of artistic inquiry. While earth is tangible, solid, and rooted, water represents everything shifting, fluid, and infinite. Like time, it is an element necessary for growth and transformation—not just of the physical, but also of the spiritual world.
Tel: 415.626.2787
Web site www.theintersection.org


Beth Lipman, Covered Peaches
John Michael Kohler Arts Center
Sheboygan, Wisconsin
Beth Lipman: Still Lifes in Glass
Through February 15, 2004

Lipman, a Massachusetts sculptor and recent Arts/Industry resident, is a master in the art of glass. Her new large-scale project, a 20-foot-long glass tableau, marks the culmination of her “Still Life Revisited” series. These sculptural interpretations of historical paintings reinvent the still life—a neglected genre in contemporary art—revealing the enchantment of everyday objects and renewing the drama of realism. The carefully conceived and formed sculptures also revitalize traditional techniques of working in glass. A number of other works from the “Still Life” series are also on view.
Tel: 920.458.6144
Web site www.jmkac.org


Andrea del Verrocchio, David
National Gallery of Art
Washington, DC
Verrocchio’s David Restored
February 13–March 21, 2004

Verrocchio’s David is making a brief two-stop tour of the U.S.—the first time it has traveled to America since 1940. Before arriving in Washington, the Italian Renaissance masterpiece can be seen at Atlanta’s High Museum (through February 8, 2004). Recent cleaning has revealed long-obscured gilding and anatomical details and confirmed that Goliath’s head was originally placed to the side of the hero’s right foot. For more than 500 years, the head has lain between David’s feet, obscuring the composition’s fluid movement. For the U.S. exhibitions, the bronze sculpture has been temporarily returned to its original composition. At the National Gallery, David will join other sculptures by Verrocchio and his circle in a display that places the work in its artistic context and examines the Florentine significance of the David theme.
Tel: 202.737.4215
Web site www.nga.gov


Tom Friedman, Cup and Straws, from “The Invisible Thread”
Newhouse Center for Contemporary Art
Snug Harbor Cultural Center

Staten Island, New York
The Invisible Thread: The Buddhist Spirit in Contemporary Art
Through February 29, 2004

Buddhist influence has extended beyond a traditional religious and cultural context to enter mainstream art, science, ecology, medicine, and politics. Offering different ways to address reality and the practice of art, Buddhism serves as a catalyst for “awakened” consciousness and provides fresh insights into the concepts of space, time, self, and the role of the artist. Artists working in a variety of disciplines have incorporated Buddhist thought and practice into their work, emphasizing the bare facts of existence and a direct engagement with the everyday world. This exhibition explores the impact of Buddhism on American artists beginning in the 1950s and includes works by Marina Abramovic, Xu Bing, James Lee Byars, Piero Manzoni, Isamu Noguchi, Nam June Paik, Tom Friedman, and Bill Viola. New installations have been commissioned from Long-Bin Chen, Shu Min Lin, Andrew Ginzel, and Arlene Shechet.
Tel: 718.448.2500 x260
Web site www.snug-harbor.org


David Ireland, Three-legged Chair
Oakland Museum of California
Oakland
The Art of David Ireland: The Way Things Are
Through March 14, 2004

According to Ireland, “You can’t make art by making art.” This retrospective, surveying three decades of the California conceptualist’s career, features works created between 1972 and 2002, including four large-scale installations and 30 sculptures. During this time, Ireland has produced a remarkable series of architectural transformations, installations, objects, and drawings that challenge everyday distinctions between art and non-art. A self-described “post-discipline” artist guided by Zen principles and postmodern aesthetics, he moves fluidly from small drawings to sculptures as large as houses. Ireland himself was directly involved in the installation here, undertaking what he called “activating the space.”
Tel: 510.238.2200
Web site www.museumca.org


Allyn Massey, Hothouse
Philip Feldman Gallery
Pacific Northwest College of Art
Portland, Oregon
Allyn Massey: When Push Comes to Shove
Through January 17, 2004

Massey’s site-specific installations manipulate common, everyday objects but subvert any ordinary function they might have had. Viewers enter a space of things both familiar and foreign—chairs hang askew from a wall, a piece of chalk grows to the size of a beach ball—a space bounded by emotional content and a sly intellectualism. The Baltimore-based artist is particularly interested in how people deal with the unknown and how viewers respond to her skewing of reality.
Tel: 503.226.4391
Web site www.pnca.edu


Anya Gallaccio, because I could not stop
Tate Britain
London
Turner Prize 2003
Through January 18, 2004

2003 marks the 20th year of the Turner Prize, widely considered one of the most prestigious awards for the visual arts in Europe. The Turner prize exhibition features new and recent work from all four of the shortlisted artists: Jake and Dinos Chapman, whose expert craftsmanship supports a subversive wit and black humor; Willie Doherty, whose video installations explore the undercurrents of fear, oppression, and uncertainty running through life in a divided society; Anya Gallacio, a sculptor whose ephemeral creations of flowers, fruit, ice, and grass manifest cycles of transformation and degeneration; and Grayson Perry, who is best known for ceramic works that combine classically shaped vases with figures, patterns, and texts of a revealing
and often dark nature.
Tel: +44 20 7887 8000
Web site www.tate.org.uk


Olafur Eliasson, The Weather Project
Tate Modern
London
The Unilever Series: Olafur Eliasson
Through March 21, 2004

Known for installations and sculptures featuring light, steam, water, fire, wind, and ice, Eliasson considers the boundaries of human perception and the relationship of nature, architecture, and technology. In preparation for this newly commissioned work, he investigated the British preoccupation with the weather. Eliasson views weather as one of the few fundamental encounters with nature that can still be experienced in the city. He is also interested in how the weather shapes a city and, in turn, how the city itself becomes a filter through which to experience the weather. The Weather Project seeks to bring a part of London into the building, and, through the experience and memory of the work, a part of it is taken back into the city by the viewer.
Tel: +44 20 7887 8000
Web site www.tate.org.uk


Lucas Samaras, Box #10
Whitney Museum of American Art
New York
Unrepentant Ego: The Self-Portraits of Lucas Samaras
Through February 8, 2004

“Unrepentant Ego,” Samaras’s first major exhibition in an American museum in 15 years, explores the manifold ways in which he has used his own image to investigate themes of sexuality, terror, mortality, and transformation. More than 350 sculptures, mirrored environments, drawings, photographs, and films also reveal his experiments with new techniques and unconventional materials. A selection of his mixed-media boxes (1960–late ’80s) forms the psychological core of the show. These Freudian constructions, colorfully painted or encrusted with fake gems and yarn, contain mundane and exotic objects—beads, pins, shells, mirrors, and stuffed birds. Oddly juxtaposed in their tiny compartments and hidden drawers, these self-referential ingredients magically combine to yield some of the artist’s most complex inventions.
Tel: 1.800.WHITNEY
Web site www.whitney.org