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December 2016
Vol. 35 No. 10

A publication of the
International Sculpture Center
Pittsburgh: Alison Knowles - Carnegie Museum of Art
by Elaine A. King
Alison Knowles, The Boat Book,
2014–15For five decades, Alison Knowles has been expanding the parameters of art with performative works and participatory installations. A founding member of Fluxus with George Maciunas, she moved through the 1960s downtown New York City art scene with the likes of Joseph Beuys, Yoko Ono, and Nam June Paik. Working alongside Marcel Duchamp and John Cage influenced her development significantly. What set Knowles apart from other Fluxus artists, however, was the element of touch. Now 83, Knowles is recognized as a visual/performing artist whose work translates into a kind of three-dimensional poetry that she says "composes itself or is composed by chance." For her, art is an extremely organic development. Her most impor­tant performance, Make a Salad, was first presented at London's Institute of Contemporary Art in 1962...see the entire review in the print version of December's Sculpture magazine.

Alison Knowles, The Boat Book, 2014–15. Wood and metal frame with silkscreen, digital print on silk, beans, books, fishing net, photographs, ship anchor, fabric tunnel, electrical lights, mixed media, and audio recording, 96 x 106 in.
Savannah, Georgia: Jeffrey Gibson - Savannah College of Art and Design Museum of Art
by Laura Albritton
Jeffrey Gibson, installation
view of A Kind of Confession, 2016 "A Kind of Confession," Jeffrey Gibson's captivating recent exhibition, borrowed its title from James Baldwin, who wrote that "all art is a kind of confession, more or less oblique. All artists…are forced, at last, to tell the whole story." A member of the Mississippi Band of Choctaw Indians and half-Cherokee, Gibson drew from his Native American heritage, as well as from his experience living overseas. His paintings, along with embellished works bearing messages, hung from the walls, but viewers could not help but be immediately drawn to his mesmerizing, three-dimensional work. The first sculpture encountered, All for One, One for All, made use of vivid colors and beads, its various materials echoing those of ceremonial tribal dress...see the entire review in the print version of December's Sculpture magazine.

Jeffrey Gibson, installation view of "A Kind of Confession," 2016.
New York: Nicole Eisenman - New Museum
by Jan Garden Castro
Nicole Eisenman, Hanging
Man, 2016 Starting with a deflated Captain America sleeping-or knocked out-on a pilaster, Nicole Eisenman's recent exhibition addressed cultural and gender identity. "Al-ugh-ories" opened with Captain America's nondescript, battered brown head at rest on a worn baseball glove. The sculpture was surrounded by weird paintings of a deep-sea diver, an androgynous, long-haired Hamlet with sword and skull, a green head, a cuffed and shackled nude maiden (Spring Fling), and a self-portrait of the artist in an overloaded, cramped studio/houseboat on a turbulent sea...see the entire review in the print version of December's Sculpture magazine.

Nicole Eisenman, Hanging Man, 2016. Wood, wax, and mixed media, 66 x 26 x 93 in
New York: Antonia Papatzanaki - President's Gallery, John Jay College of Criminal Justice
by Jonathan Goodman
Antonia
Papatzanaki, installation view of the
Exceeding Limits series, 2016Greek-born Antonia Papatzanaki is a sculptor of light. Her public installations are well known in Greece, particularly in Athens, where she lives part of the year while residing at other times in New York. Her recent exhibition, "Stratifications," featured two bodies of work: "Exceeding Limits," a series of wall-mounted sculptures consisting of metal casing and curving Plexiglas forms that emanate light from a hidden source, and the "Cellular" series, which takes its cue from cellular structures and includes both computer-generated prints and sculptures made from layers of Plexiglas...see the entire review in the print version of December's Sculpture magazine.

Antonia Papatzanaki, installation view of the "Exceeding Limits" series, 2016.
The Hague: Vik Muniz - Mauritshuis
by John Gayer
Vik Muniz, Verso (Starry Night), 2008In 2008, the same year that Vik Muniz produced his first Versos, Gerard Byrne took some black and white photographs of the backs of historical paintings and interspersed them with other pictures and a film installation in an exhibition that explored uncertainties linked to time. These images prompted consternation for how they blended past and present, contrasted image production technologies, and elicited a range of inherent contradictions-particularly in their titles. The expected images-A Young Woman Contemplating a Skull, for instance-were ultimately withheld from viewers...see the entire review in the print version of December's Sculpture magazine.

Vik Muniz, Verso (Starry Night), 2008. Mixed media, 74 x 92 cm.
DISPATCH: Boston: "Megacities Asia" - Museum of Fine Arts
by Suzanne Volmer
The immersive, often interactive installations showcased in "Mega­cities Asia" explored identity amid the masses, sociopolitical issues, and ecological concerns. In a show that mimicked urban sprawl, curators Al Miner and Laura Weinstein examined the successes and failures of Asia's boomtowns by cherry-picking artists from Beijing, Delhi, Mumbai, Seoul, and Shanghai. Korean artist Choi Jeong Hwa's Breathing Flower was sited next to the museum's Huntington Avenue entrance. The giant, inflated crimson blossom fluttered buoyant in the wind. At bustling Faneuil Hall, Choi's inflatable Fruit Tree was equally vivid. Interventionist calling cards in the public realm, these works directed attention toward "Megacities Asia," and the museum offered free admission to anyone showing a selfie with Fruit Tree. The exhibition's epicenter in the Ann and Graham Gund Gallery featured nine installations...see the entire review in the print version of December's Sculpture magazine.

LeRone Wilson, Homage to Ra (Sun), 2016. Encaustic on panel, 36 in. diameter.

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