International Sculpture Center

   


Nov 2011
Vol.30 No 9

A publication of the
International Sculpture Center
Miami - Frances Trombly and Leyden Rodriguez-Casanova: Bass Museum of Art
by Laura Albritton
Two of Miami’s most intriguing sculptors, wife and husband Frances Trombly and Leyden Rodriguez-Casanova, recently collaborated on an exhibition at the Bass Museum. Visitors might be forgiven for thinking that Trombly and Rodriguez-Casanova have nearly identical aesthetics—they both appear to use ordinary objects, from prefabricated doors to extension cords and cleaning utensils, as readymades. “Come Together,” however, demonstrated that their projects may be complementary but their processes are quite divergent. ...see the entire review in the print version of November's Sculpture magazine.

Frances Trombly, Mop, 2008. Hand spun silver wool, cotton and wooden mop handle, 52 x 14 x 13 in.
Miami - Art Basel Miami Beach: Miami Sculpture Biennial/ Pulse Art Fair
by Helen Lessick
South Florida is hit by a tidal wave of contemporary sculpture every December as Art Basel Miami Beach (ABMB), Pulse, Design Miami, the new Miami Sculpture Biennial, and a dozen other temporary art fairs and exhibitions come to town. At its core, ABMB is a fair for collectors, with internationally important fine art salesmen bringing merchandise to a five-day bazaar and aesthetic melting pot. Management smartly leverages status hunger, presenting risk-taking gallerists alongside bluebloods and intellectuals in Position, Cabinet, and Nova programs and private events. ...see the entire review in the print version of November's Sculpture magazine.

Collider Projects, In All Disorder, A Secret Order, 2010
Baltimore - “Material Girls”: Reginald F. Lewis Museum of Maryland African American History & Culture
by Cathy Byrd
With an aesthetic rooted in the everyday, “Material Girls” featured work by eight emerging and established black women artists who translate the metaphoric properties of their media into fierce sculptures, immersive installations, and intricate assemblages. The exhibition, curated by the museum’s collections and exhibitions director Michelle Joan Wilkinson, reflected a legacy of creativity and hand-crafting, resonating with permanent displays of African American material culture. The artists repurpose as sculptural media what they glean from salvage yards and recycling bins and mine from the wares at craft and thrift shops. Not only beads, tissue paper, glass, feathers, and stones, but also pocket combs, shredded tires, plastic bags, solar panels, and steel cables make their way into these conceptual projects. ...see the entire review in the print version of November's Sculpture magazine.

Maya Freelon Asante, Time Lapse, 2010. Tissue paper and tape, 2 x 20 x 20 in. From "Material Girls."
Boston - Mags Harries: Boston Sculptors Gallery
by Christine Temin
Mags Harries is interested in starting conversations through sculptural chairs. Occasionally she builds them so people can sit in them and talk, but more often, at least in the works in this show, people will talk about them rather than in them. Consider Tête-à-Tête, a pair of chairs facing each other but less than hospitable because of their height. It would take a couple of seven-foot-tall basketball players with springy jumps to sit in them. Two clinical-looking lights illuminate an apple hanging between the chairs; a motorized wire makes the fruit rise and fall. The image suggests Adam and Eve and the apple that got them ousted from the Garden of Eden....see the entire review in the print version of November's Sculpture magazine.

Mags Harries, Converse, 2010. Oak, 70 x 29 x 63 in.
New York - John Beech: Peter Blum Gallery
by Jonathan Goodman
Favoring simple constructions that look back to the heyday of New York Minimalism in the 1960s, John Beech works just a bit differently from the artists whose work has so strongly influenced him. His aesthetic is closer to process art in that we usually see what it is he has done to plywood and aluminum tubes or other materials taken mostly from everyday carpentry. Unlike the hermetic, monolithic masses so favored by Minimalism, Beech’s work possesses humility—an unexpected but welcome attribute in 21st-century art. By calling attention to fabrication as well as form, Beech shows us that directness of process can make a very human statement—even when the work is thoroughly oriented toward an everyday beauty or common craft. ...see the entire review in the print version of November's Sculpture magazine.

John Beech, Rolling Platform, 2010. Plywood, enamel, casters, and screws, 168 x 152 x 152 cm.
New York - Ayano Ohmi: Ceres Gallery
by Jonathan Goodman
Ayano Ohmi, a long-time resident of New York City, originally comes from Japan. Her recent show featured groupings of slender totems that belong to neither the Western nor the Asian tradition; instead, they relate to the now worldwide experience of modernity. Ohmi creates artistic presences that remain in the mind long after viewing. Her sculpture may in some way connect to Noguchi’s organic sensibility, but Ohmi is very much her own person, intent on the evocative resonances that emanate from a highly spiritual approach to art. Working in clay, she shows us how the force of a single work increases by its positioning within a larger group. Her arrangements succeed because the individual pieces retain a singular character—they are as different from each other as the Chinese terra-cotta warriors buried in Xian. ...see the entire review in the print version of November's Sculpture magazine.

Ayano Ohmi, installation view of "Meditative Scenery," 2011.
New York - Marianne Weil: Kouros Gallery
by Joyce Beckenstein
There’s a palpable human presence in Marianne Weil’s bronze sculptures. The incisions, hatchings, and symbols scratched into her early totem-like figures reflect 10 years spent exploring and researching archaeological sites, from Neolithic cairns in Brittany to Bronze Age settlements in Spain. In her recent exhibition, “Ad Fundum: New Bronze Work,” she takes a giant leap through the millennia—a shift in time, accompanied by a shift in perspective. In 2008, Weil visited an ancient Roman sanctuary in Panóias, northern Portugal....see the entire review in the print version of November's Sculpture magazine.

Marianne Weil, The Dig, 2010. Cast bronze, 12 elements, 26 x 36 x .5 in.
Akron - Sarah Kabot: Akron Art Museum
by Lane Cooper
In The Matrix, Neo bends and folds the world, wrapping it around to fit his will. A glitch in the matrix produces an uncanny sense of déjà vu. (“Was it the same cat”) Sarah Kabot, a Cleveland-based artist, is no less facile in her ability to break and distort the limits of the material world. Her recent installation, Unfolding Space, presented a world in which the floor bends in on itself accordion-style, seemingly of its own accord, folding into stair-like structures that climb unfettered from their place. Lights crawled down from the ceiling, repositioning themselves on the walls. The illusion of materiality belied the ephemeral nature of these painstakingly cut and joined foamcore, paper, and photographic prints, which convincingly reproduced the more substantial constructions of the gallery’s white walls and wood floors. ...see the entire review in the print version of November's Sculpture magazine.

Sara Kabot, Unfolding Space, 2011. Mixed media, installation view.
Pittsburgh - “Queloides: Race and Racism in Cuban Contemporary Art”: Mattress Factory
by Elaine A. King
In 2004, the Mattress Factory presented “CUBA: Artists in Residence,” an exhibition that included site installations by 11 Cuban artists who were denied visas to the U.S. It recently showcased Cuban art again, but “Queloides,” co-curated by University of Pittsburgh professor Alejandro de la Fuente and Cuban artist Elio Rodríguez, took up issues of self-representation, sexual power, history, racial discrimination, and identity. This adaptation of a show that originated at the Centro Wifredo Lam in Havana featured paintings, photographs, installations, and videos by 12 artists, including sculpture by María Magdalena Campos-Pons, Juan Roberto Diago, Armando Marino, Elio Rodríguez, and Meira Marrero and José Toirac. ...see the entire review in the print version of November's Sculpture magazine.

Robert Diago, Ascending City, 2010. Wood, installation view. From "Queloides".
Seattle - Melissa Pokorny: Platform Gallery
by Matthew Kangas
Melissa Pokorny’s recent show offered a startling and unexpectedly beautiful selection of her mid-scale, found-object, assemblage sculptures. Using fairly bizarre cast-offs and then reconfiguring them into conglomerations with an absurd, shiny glamour, Pokorny reinvigorates a netherworld spawned by Joseph Cornell and perfected by Robert Rauschenberg. Like Cornell’s work, Ether (all works are 2011) seems an eerie shadow box mounted on a wall, but its two faux windowpanes reveal a burning room and a darkened one with a central glow....see the entire review in the print version of November's Sculpture magazine.

Melissa Pokorny, Unmoored and Adrift, 2011. Archival inkjet prints, polystyrene, aluminum, polyurethane resin, found objects, and pins, 80 x 118 x 24 in.
Toronto - Iñigo Manglano-Ovalle: Power Plant Contemporary Art Gallery
by Stuart Keeler
Originally featured at Documenta 12, Phantom Truck by Chicago-based Iñigo Manglano-Ovalle recently made its North American debut. A minimal, painted steel work simulating a 30-foot-long vehicle trailer stacked with industrial container forms in a variety of sizes and shapes, Phantom Truck presents itself as a catalyst for reflection on American politics. In 2003, the Bush administration claimed that “mobile units of nuclear devices in trucks and trailers were circulating through Iraq.” Manglano-Ovalle’s work pays homage to the form and scale of these imagined biological weapons labs while creating a haptic space to contemplate the political conundrums of our time....see the entire review in the print version of November's Sculpture magazine.

Iñigo Manglano-Ovalle, Phantom Truck, 2007. Aluminum and epoxy paint, installation view.
Milan - “Italian Sculpture of the XXI Century”: Fondazione Arnaldo Pomodoro
by Laura Tansini
For “Italian Sculpture of the XXI Century,” curator Marco Meneguzzo selected works by 80 artists, ranging from elder statesmen (Nunzio and Dessì) to mature artists of the next generation (Cattelan, Bartolini, Dynys, Arienti, Moro, Beecroft, Cecchini, Sissi, Demetz, and Cuoghi), to younger, up-and-coming artists (Sassolino, Simeti, Previdi, and Gennari). His choices highlight the different expressions and languages of the so-called “new tendencies” in sculpture today and demonstrate how much boundaries have changed, if they even still exist. ...see the entire review in the print version of November's Sculpture magazine.

Gehard Demetz, Hitler Mao, 2010. Bronze, 2 elements, 168 x 37 x 37 cm. each.

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