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Qi Dynasty, Standing Buddha,
from Return of the Buddha.
M. Sackler Gallery,
Return of the Buddha:
The Qingzhou Discoveries
Through August 8, 2004
In 1996 workers leveling
a school sports field in Qingzhou (a small city on Chinas 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.
Web site <www.asia.si.edu>
Schreuders, The Three Sisters.
Arizona State University
The Long Day: Sculpture
by Claudette Schreuders
Through June 19, 2004
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 Africas 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.
Web site <http://asuartmuseum.asu.edu>
Sawyer, Blue. .
University of Houston
Through June 13, 2004
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.
Web site <www.blaffergallery.org>
Bourgeois, Untitled, from
Working in Brooklyn.
Museum of Art
Working in Brooklyn
Through August 15, 2004
survey celebrates the creative renaissance underway in Brooklyn, home
to New York Citys 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
Web site <www.brooklynmuseum.org>
Green, video detail from Wavelinks.
Renée Green: Wavelinks
Through May 16, 2004
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.
Web site <www.contemporaryartscenter.org>
Eva Hesse: Transformations
The Sojourn in Germany, 196465
Through June 6, 2004
In contrast to the
recent touring Hesse blockbuster exhibition, this show focuses on works
created during a brief, yet pivotal moment in the artists career.
Her stay in Germanyfrom which she and her family had been forcibly
expelled in 1938marked a turning point in both Hesses 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 Hesses move toward formal reduction, including the nonsense
drawings that led to her three-dimensional relief objectsthe decisive
breakthrough in her development as a sculptor.
Tel: +43 1 52189 33
Web site <www.kunsthallewien.at>
Through June 6, 2004
the Kunsthalles project space at Karlsplatz into a hyper-real greenhouse.
Weedsartificial, perfectly made, and carefully mountedovertake
the pristine urban architecture. Matellis 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.
Tel: +43 1 52189 33
Web site <www.kunsthallewien.at>
Melotti, Il museo, from
the teatrini series.
(Museum of Contemporary Art)
Through June 20, 2004
evinces lightness and poetry. A major figure in Italian 20th-century art,
he is best known for his teatrinithe 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. Melottis
abstractions were inspired by the physical, intellectual, and harmonic
laws imposed by spatial definitions and musical temporhythms, 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
Tel: +32 65 65 21 21
Web site <www.grand-hornu.be>
Holland, Glaze, from New Installations.
Reichlin, Schism, from "New Installations"
New Installations: Artists in Residence
Through June 27, 2004
Through this spring, the Mattress Factory features a range of new projects
by eight resident artists. Jeremy Boyle has created his ultimate studio
and makes works on site while living at the museum during the show. Rebecca
Holland has melted 4,235 pounds of hard candy and cast the basement floor.
Liza McConnells Diorama Obscura: Riding Fences is activated by a
viewer walking on a treadmill. Curtis Mitchells multi-room Track
combines a plethora of
elements and references, from burned and washed Oriental rugs to Gene
Kellys dance steps traced on photographic paper with caustic chemicals.
Ara Peterson, Jim Drain, and Eamon Brown combine geodesic spheres, kaleidoscopes,
and computer-generated video imagery in Bizarre Love Triangle. Ann Reichlin
has created a space of suspended narrow passages, interior chambers, and
tilted walls. For Lux Lucis Lumen, Margo Sawyer uses slowly changing LED
lights to transform colored blown glass set into the floor of a darkened
space. And Lynne Yamamotos Smooth Cayenne explores the myths and
realities of pineapple plantations.
Web site <www.mattress.org>
The Gates, Project for Central Park,
New York City
Museum of Art
Christo and Jeanne-Claude: The Gates, Central Park, New York
July 25, 2004
Christo and Jeanne-Claudes
widely anticipated The Gates project for Central Park doesnt 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 projects 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.
Web site <www.metmuseum.org>
Chicago, Rainbow Pickett, from
"A Minimalist Future."
of Contemporary Art
at California Plaza
A Minimal Future? Art as Object 19581968
Through August 2, 2004
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.
Web site <www.moca.org>
Roth, Literatur Sausage
(Martin Walser: Halftime).
of Modern Art and P.S.1
Queens, New York
Roth Time: A Dieter Roth Retrospective
Through June 7, 2004
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
A colleague of Beuys and one of the most influential European artists
of the postwar period, Roth ranged across a wide artistic terrain, from
painting and graphic work to sculpture and installation, to film and video.
He was particularly fascinated with organic substances, including grease
stains, mold formations, insect borings, chocolate, and cheese, and their
decomposition. MoMA presents a chronological survey of Roths career,
while P.S.1 houses five monumental self-contained installations that explore
time, decay, and the diary.
Tel: 212.708.9400 (MoMA);
Web site <www.moma.org> <www.ps1.org>
Hatoum, First Step.
Lou, Kitchen (detail).
Both works from Domestic Odyssey.
Jose Museum of Art
Through July 3, 2004
The artists in Domestic
Odyssey use household itemsordinary housewares, appliances,
and furnitureas touchstones for their work, transforming everyday
objects into seductive, whimsical, and thought-provoking meditations on
cultural, social, and autobiographical issues. Liza Lous 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.
Web site <www.sanjosemuseumofart.org>
Through May 31, 2004
three of Britains 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 others 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 exhibitions titlea
mutated reference to the Garden of Edencomes 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; Fairhursts 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.
Tel: +44 20 7887 8008
Web site <www.tate.org.uk>
Bronx, New York
Through May 31, 2004
A tribute to New
York Citys 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.
Web site <www.wavehill.org>
Municipal Museum, courtesy of The State Administration of Cultural Heritage,
Peoples Republic of China
Schreuders: courtesy Jack Shainman Gallery, New York
Bourgeois: courtesy Brooklyn Museum of Art
Hesse: © The Estate of Eva Hesse, courtesy Hauser & Wirth,
Zürich and London
Matelli: courtesy Sies + Höke Gallerie, Düsseldorf
Melotti: Jean-Pierre Maurer, courtesy Fondation Melotti
Holland and Reichlin: Michael Olijnyk
Chicago: © Judy Chicago/Artists Rights Society, New York
Christo: Wolfgang Volz © Christo 2003
Roth: © Heini Schneebeli, Dieter Roth Foundation, Hamburg
Hatoum and Lou: courtesy San Jose Museum of Art
Perry: courtesy Wave Hill
Hirst: Mike Parsons, courtesy Jay Jopling/White Cube, London, and
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