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Arthur
M. Sackler Gallery, In 1996 workers leveling
a school sports field in Qingzhou (a small city on China’s northeast
coast) accidentally unearthed a cache of about 400 objects, including
a number of remarkable 6th-century sculptures. Some time in the 12th century,
these limestone statues of Buddhas and bodhisattvas were interred in a
pit on the site of a long-destroyed temple, where they remained for close
to 800 years. The reason for the burial remains unclear: perhaps the images
became obsolete and were ritually retired; perhaps they were hidden during
a wave of Buddhist persecution. The 35 sculptures included in this show
rank among the highlights of the find: many retain an unusual amount of
their original gilding and vibrant color, and all display finely detailed
and sensitive carving.
ASU
Art Museum, Schreuders, a post-Apartheid-generation
South African artist best known for her autobiographical figurative sculpture,
is inspired by family photographs and memories of growing up white, female,
and Afrikaans in the broader context of national racial and political
realities. Her carved and painted wood sculptures pay homage to African
tribal arts, the Colon figures of West Africa, and the tradition of religious
woodcarvings in Europe. Often moody, her figures depict individuals grappling
with South Africa’s past. According to Schreuders, “These new
works explore how domestic life goes on, whatever the political situation
is, and also how the politics of the place you live manifests itself in
your personal space.”
Blaffer
Gallery, For more than 20
years, Sawyer has been engaged in a personal voyage of discovery focused
on architecture and ritual. She has visited sacred spaces in Europe, Southeast
Asia, and the Far East, where she became interested in the philosophies
of Buddhism and Hinduism, meditation, and the sensory qualities of spiritual
spaces. Her installations consider the metaphysical relationships among
space, material, time, and Eastern architecture within the framework of
a contemporary vocabulary. In “Contemplative Spaces,” Sawyer
continues this investigative spirit, working within the confines of Modernist
architecture to suggest the “equivocal nature” of space, engage
the viewer, and encourage a sense of transformation and transcendence.
Brooklyn
Museum of Art This comprehensive
survey celebrates the creative renaissance underway in Brooklyn, home
to New York City’s greatest concentration of visual artists. Five
thousand artists and 50 galleries have transformed the borough into what
is considered the most diverse and vibrant art scene in the U.S. and a
mecca for many artists on the international scene. “Open House”
emphasizes the multi-generational, multi-ethnic, and multi-national artist
communities that have breathed new life into such neighborhoods as Williamsburg,
DUMBO, Red Hook, Greenpoint, Bedford-Stuyvesant, and Sunset Park. Selected
artists include long-established residents Vito Acconci, Louise Bourgeois,
and Martha Rosler; mid-career artists Terry Adkins and Roxy Paine; and
newcomers Haluk Akakçe and Rina Banerjee. All of the featured works
are new or recent (made since 2000), somany are on view for the first
time.
Contemporary
Arts Center Green’s installations
attempt to unearth hidden histories and to expose the beliefs underlying
supposedly unbiased portrayals of fact. Using an anthropological approach
toward her subjects, she conducts research and then offers viewers the
results of her studies. Her recently completed “Wavelinks” series
consists of seven sound and video installations that explore the human
relation to natural and artificial sounds. Each work combines factual
information with fictional narrative elements to construct a broad view
of aural experience and its philosophical portrayal as a unique, inescapably
abstract aesthetic. Green considers the political uses of sound, its relation
to the visual arts and space, its visceral impact, and its potential to
create alternative realities.
Kunsthalle
Wien In contrast to the
recent touring Hesse blockbuster exhibition, this show focuses on works
created during a brief, yet pivotal moment in the artist’s career.
Her stay in Germany—from which she and her family had been forcibly
expelled in 1938—marked a turning point in both Hesse’s personal
and artistic development. During this 14-month period, she shifted tactics
and methods: from painting and drawing toward collage and sculptural works,
from overtly figurative subject matter to geometric minimalization of
form. The show features 60 drawings, collages, gouaches, and reliefs that
illustrate Hesse’s move toward formal reduction, including the “nonsense”
drawings that led to her three-dimensional relief objects—the decisive
breakthrough in her development as a sculptor.
Kunsthalle
Wien Matelli transforms
the Kunsthalle’s project space at Karlsplatz into a hyper-real greenhouse.
Weeds—artificial, perfectly made, and carefully mounted—overtake
the pristine urban architecture. Matelli’s provocative contradictions
(in this case between the hyper-civilized nature outside the glass and
the hyper-realistic artifice inside) have recently received international
attention. His sculptures, which he says “are just real enough”
target the marginal areas of everyday life, wittily and sometimes maliciously
skewering values and appearances. As he says, “Weeds are the horticultural
version of a zit. They represent a breakdown, either a failure or refusal
to fight the perfunctory battle against entropy. One weed is a forgivable
blemish. Overgrowth is hopeless abandon. Overgrowth inside is the cultivation
of abandonment, a rewriting of the rules. The celebration of failure.”
MAC’s
(Museum of Contemporary Art) Melotti’s sculpture
evinces lightness and poetry. A major figure in Italian 20th-century art,
he is best known for his teatrini—the small stage sets housing evocative
tableaux of figures and objects that he made from the end of the 1950s
to 1984. Over the course of his 60-year career he worked in a wide range
of styles, beginning in a Constructivist mode in the ’20s, moving
through a figurative phase, and finally shifting toward abstraction. Melotti’s
abstractions were inspired by the physical, intellectual, and harmonic
laws imposed by spatial definitions and musical tempo—rhythms, waves,
rests, and counterpoint take on shape in clay and plaster. This retrospective
also includes drawings, as well as a series of never-before exhibited
ceramic works.
Mattress
Factory
Metropolitan
Museum of Art Christo and Jeanne-Claude’s
widely anticipated The Gates project for Central Park doesn’t open
until February 2005. In the meantime, the Met is offering a preview. Fifty
preparatory drawings and collages by Christo, 60 photographs, and 10 maps
and technical diagrams document the project’s evolution from its
beginnings in 1979 through the final accepted design of 7,500 saffron-colored
gates placed at 12-foot intervals throughout 23 miles of walkways in the
park. Also on view are the components of one of the 16-foot-high gates.
Museum
of Contemporary Art “A Minimal Future?”
is the first large-scale exhibition in the U.S. to examine the emergence
and foundations of Minimalism, a critical milestone in the history of
contemporary art. Featuring over 150 key selections and bodies of work
from 1958 to 1968 by 40 American artists who emerged in the early to mid-’60s,
the show considers minimal art as a catalyst that shattered traditional
notions of artmaking by redefining the form, material, and production
of the object and its relationship to physical and temporal space and
the spectator. Featured artists include Carl Andre, Judy Chicago, Dan
Flavin, Dan Graham, Eva Hesse, Robert Irwin, Donald Judd, Richard Serra,
Tony Smith, and Robert Smithson.
Museum
of Modern Art and P.S.1 A sculptor, poet,
graphic designer, performer, publisher, and musician, Roth was above all
a provocateur who despised routine. His artistic output was innovative,
flexible, unstable, and often chaotic. This two-part survey of 375 works
is the first U.S. exhibition to explore a wide-ranging career that spanned
50 years.
San
Jose Museum of Art The artists in “Domestic
Odyssey” use household items—ordinary housewares, appliances,
and furniture—as touchstones for their work, transforming everyday
objects into seductive, whimsical, and thought-provoking meditations on
cultural, social, and autobiographical issues. Liza Lou’s Kitchen,
a 168-square-foot tour de force covered with 20 million beads, serves
as the focal point of the show. The life-sized replica includes a tile
countertop, dish-filled sink, a cherry pie cooling on an oven rack, and
a table set for breakfast, yet it poignantly excludes any human presence.
Other artists include Yoram Wolberger, whose sculptures are marvels of
creative destruction, and Carlee Fernandez, whose satirical hybrids combine
trophy animals with ordinary household utensils to critique our treatment
of animals. Works by Mona Hatoum, Margarita Cabrera, Stephen Litchfield,
Willie Cole, and Marlene Alt are also featured. Tate
Britain In “In-A-Gadda-Da-Vida,”
three of Britain’s best-known artists join in a unique collaborative
effort. Angus Fairhurst, Damien Hirst, and Sarah Lucas, who first met
at Goldsmiths College, continue to influence each other’s work through
a process of social interaction and intermittent collaboration. Biblical
narrative and psychedelic rock form the backdrop for a show that explores
life, love, sex, death, and destruction. (The exhibition’s title—a
mutated reference to the Garden of Eden—comes from the 1968 Iron
Butterfly recording.) Despite the common theme, the artists maintain their
individual identities: Lucas uses commonplace, disposable items to create
unexpectedly finely crafted objects; Fairhurst’s work takes many
forms, from drawings and text works to his bronze gorilla sculptures;
and Hirst makes increasingly complex vitrine installations. Each has created
new work for the show. Wave
Hill A tribute to New
York City’s resumption of a full recycling program, “Reduce/Reuse/Reexamine”
features artists who use conceptual methods to explore issues of consumption
and waste generation and removal, and who reinvigorate discarded materials.
Household garbage, toilet paper tubes, tag-sale cast-offs, and plastic
newspaper bags become creative building blocks, transformed into jackets,
furniture, and installations. Some artists recover the broken detritus
of everyday life, while others document the effects of rampant consumption
in urban streets and in landfills. Some of the works are participatory:
to learn the lesson of “making-do,” visitors can fix a broken
object using materials provided by Peggy Diggs, who makes new objects
from old. Exhibiting artists include Ron Baron, Tamiko Kawata, Sarah Hollis
Perry, Steven Siegel, Mierle Laderman Ukeles, and Janet Zweig. Credits Buddha: Qingzhou
Municipal Museum, courtesy of The State Administration of Cultural Heritage,
People’s Republic of China Sculpture Magazine Archives
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