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Art
on the Plaza The third installation
in Creative Time’s public sculpture series, Zhang Huan’s Peace
explores ancestral history and ethnic assimilation. It embodies the relation
of experience to environment, identity to culture, and body to spirit—cardinal
themes for the artist. A large bell, modeled after those found in Chinese
temples and inscribed with the names of eight generations of Zhang Huan’s
ancestors, hangs next to a gilded life cast of the artist’s naked
body. Viewers are invited to drive the body into the bell, thereby forcing
a confrontation between the immigrant artist and his ancestral past. Performance
by proxy, Peace vocalizes the clash of cultures and, within view of Ellis
Island, asks viewers to consider their own relationship to identity.
Corcoran
Gallery of Art “American Paradigms”
pairs two New York-based artists in an exploration of the contemporary
American cultural and political landscape. Opdyke’s highly engineered
sculptures and Twitchell’s intricate paper cutouts comment on a country
that is hyper-commercialized and psychologically disassociated. The show
features 25 works, including Opdyke’s atrium installation of thousands
of paper airplanes made from pages of an Arabic-English dictionary, specially
commissioned for the Corcoran. His sculptures rekindle memories of such
small-scale childhood diversions as model building and miniature railroading.
Despite their diminutive scale and playfulness, these detailed miniatures
manage to evoke disturbing realities in a world of ominous portent.
The
Mac The third and final
part of The Belo Foundation Sculpture Series consists of new work by three
Texas sculptors. Delabano focuses on irony, verbal and visual puns, and
personal experiences, conveying his themes through figurative imagery,
quick lines, and cartoon shapes. His sculptures evoke dream-like qualities,
with surfaces that seem to swim and forms that range from the odd
MetroTech
Center Once again, Public
Art Fund is presenting its annual exhibition of work by emerging artists.
Each year, artists are asked to respond to the Commons, the public spaces
surrounding the vibrant downtown areas of MetroTech Center and Brooklyn
Polytechnic. The artists in this year’s show—Jon Conner, Roman
de Salvo, Amy Gartrell, Dave McKenzie, and Pentti Monkkonen—have
created works that observe and playfully comment on outdoor recreation,
roadside Americana, and idyllic pastimes and pleasures.
Montalvo Parker creates fanciful
large-scale architectonic structures made
Museum
of Contemporary Art at the Geffen Contemporary Dead House ur features
an obsessively altered version of Schneider’s childhood house in
Rheydt, Germany. Schneider has been dismantling and reassembling the house’s
interior since he was 16. Layering walls on walls, adding dead-end corridors
and secret passageways, living within the work and constantly revising
it, he has created a haunting depiction of domestic memory. His duplicated
rooms both resemble and conceal the original spaces, and so many changes
have been made that Schneider can no longer reconstruct the original layout.
This is the first time the work has been presented in its entirety in
the U.S.; the whole structure is installed at MOCA, where visitors enter
a succession of rooms that provide a new perspective on the complex interaction
between space and the viewer.
New
Art Centre Sculpture Park and Gallery Woodrow and Deacon
have been making shared sculpture together since the early ’90s.
For “Lead Astray” they have tackled a material that is new to
them both—lead—combining it with found objects collected in
woodlands and from around their studios. While the found objects acted
Plains
Museum of Art Despite their carefully
observed details, Hanson’s social realist figures, like Segal’s,
can appear as representatives of a type rather than as individuals. This
exhibition makes the case for a specifically Midwestern impetus and context.
Hanson was born and raised in Minnesota farming communities, places where
families depended on the land and livestock for sustenance. From his early
lessons, Hanson learned to appreciate the ethic of hard work and survival,
to champion the marginalized, and to recognize and admire the ordinary.
Queens
Museum of Art Working in New York
as a sculptor, by 1968 Jonas moved into what was then considered new territory—mixing
performance with props and mediated images. First using the bodies of
others and then narrowing the cast to herself, her videos explore conventions—of
movement and choreography, of female images and roles, of reality and
imagination. By the mid-’70s she arrived at a narrative structure
that borrows from fairy tales, mythology, poetry, and folk songs, weaving
these elements into a complex, non-linear formal presentation. While Jonas
is widely known in Europe, her groundbreaking performances are lesser
known in the U.S. This show includes a selection of her most significant
installations, a video room, and a survey of her drawings, photographs,
and sketchbooks.
Santa
Monica Museum of Art Meraz constructs
intricate, playful worlds from such unassuming materials as Popsicle sticks,
plywood, and newspapers. He has created a futuristic cityscape from paper
bags, transfigured a book into the infinity of a Möbius strip, and
fashioned an unplayable musical instrument, encasing it
SculptureCenter The Empty Museum,
shown here for the first time in North America, replicates a traditional
museum gallery, with dark red walls, wood moldings, and benches for quiet
contemplation. On the walls, however, the expected paintings have been
replaced with pools of light. Bach’s Passacaglia resounds through
the space. An ambiguous state of construction or demise presides, but
the overall effect is one of calm. The substitution of music and light
for paintings connects the space of the museum, the concert hall, and
the cathedral. As with many Kabakov installations, the room functions
as both a manifestation of social institutions and as a container within
which imagination and creativity endure. Taking the museum as metaphor,
The Empty Room invites us to reconsider the status of the work of art
and the age-
The
Snow Show The Snow Show is
a unique cultural project that brings together internationally recognized
artists and architects to design collaborative installations using snow
and ice as their primary materials. This winter, in its second incarnation,
the outdoor exhibition presents a dozen new constructions of significant
beauty and scale. Curators Lance Fung and Hilkka Liikkanen of the Rovaniemi
Art Museum have selected artist/architect teams that include Tadao Ando,
Diller + Scofidio, John Roloff, Anish Kapoor, Zaha Hadid, Cai Guo-Qiang,
Arata Isozaki, Yoko Ono, Do-Ho Suh, Lawrence Weiner, Ernesto Neto, Rachel
Whiteread, Carsten Höller, and Kiki Smith.
Tate
Modern To mark the 10th
anniversary of Judd’s death, the Tate has organized this first-ever
retrospective of the artist’s sculptures. Elegantly austere and surprisingly
sensual, the severely rectilinear forms have a powerful physical and optical
presence, incorporating the space around them. The exhibition, which includes
more than 40 works, begins with a series of paintings and handmade works
from the early ’60s showing Judd’s progression from two into
three dimensions. Minimalism’s sculptural tenets are fully explored
in the classic factory-made floor and wall works from the ’60s and
’70s, realized in a wide range of materials including galvanized
iron, steel, Plexiglas, brass, copper, and plywood. Vibrant color—a
shock for some critics—takes over in works from the mid-’80s
and remains an important element in the artist’s last work, a plywood
and Plexiglas sculpture from 1993.
Yerba
Buena Center for the Arts Since the 1960s,
Marioni, one of the Bay Area’s most important conceptual artists,
has created a distinctive body of work by challenging the definitions
of artistic genres. He has explored performance as sculptural action,
incorporating time, sound, light, air, and social situations with form.
This retrospective centers on The Temple of Geometry, a new site-specific
installation commissioned by YBCA. A series of white cubes within the
white cube of the gallery, The Temple continues Marioni’s interest
in Asian art and Zen Buddhism. He treats the gallery as a space for social
interaction, emphasizing creative process over finished product, the ephemeral
over the permanent. The artist also extends The Act of Drinking Beer with
Friends into the galleries. This ongoing performance project continues
with Marioni in residence on a weekly basis. |
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