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Addison
Gallery of American Art 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.
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.
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.
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.
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.
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.
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.
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.
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.
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.”
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.
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
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.
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. |
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