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Sculpture cover


January/February 2016
Vol. 36 No. 1

A publication of the
International Sculpture Center
New York: David Hammons - Mnuchin Gallery
by Robert C. Morgan
David Hammons, installation view
of Over the decades, David Hammons's aesthetic originality has maintained relevance through his oblique use of materials and subtle manner of transmitting meaning through seemingly incongruous, yet fertile combinations of objets trouvés. There are many examples, ranging from rock and hair sculptures to vibrantly lyrical Kool-Aid paintings and his rugged use of black rubber, fabric, concrete, and steel, not to mention his snowballs and paintings concealed by tarpaulins. Hammons's remarkable assemblages invoke a sense of brilliant absurdity while manifesting an implicit awareness of African American urban street life....see the entire review in the print version of January/February's Sculpture magazine.

David Hammons, installation view of "Five Decades," 2016.
Beacon, New York, Pablo Garcia Lopez - Catalyst Gallery
by B. Amore
Pablo Garcia Lopez,
Annunciation, 2016 Pablo Garcia Lopez is like a modern-day Bernini, sculpting baroque figures in cast natural silk, rather than marble, to create exquisite and contradictory sculptures. Exploiting the sensuousness of spun-silk, he sets that soft fleshiness against the sharp steel of surgical implements to shock and fascinate. In Wedding Cake with Pietà Topper, Garcia Lopez uses band-saw blades with upright teeth to define the five tiers of the "cake," which is topped by Michelangelo's well-known image of Mary holding the body of Christ. Set at the center of this familiar group, surrounded by the graceful flow of cast silk, the presence of a vaginal speculum is particularly disjunctive, giving rise to multiple associations. Punk studs, leather straps, and garter clips give the piece a sadomasochistic feel, playing Catholicism's traditional negation of the body against the persistent search for the pleasure integral to the human condition. The entire piece is like an unexpected view into a hypothetical "life to come" after the wedding cake is cut...see the entire review in the print version of January/February's Sculpture magazine.

Pablo Garcia Lopez, Annunciation, 2016. Silk, aquaresin, bandage, leather straps, and steel buckles, 46 x 23 x 8 in.
New York: Cornelia Parker - Metropolitan Museum of Art
by Jan Garden Castro
Cornelia Parker, Transitional
Object (PsychoBarn), 2016 The big buzz surrounding Cornelia Parker's Transitional Object (Psycho Barn) on the Met roof was well-deserved. The family-friendly art experience offered up visual clues in many directions. Though the Hitchcock film Psycho (1960) is in black and white, Parker's scaled-down (three-quarters actual size), blood-red version of the Bates house had many of the same features, including the wagon-wheel wood scallops on the porch and an oculus on the steeply sloped Man­sard roof. Like its inspiration, Parker's object was only the front of a house. Behind its façade, steel supports dispelled the illusion of "home" and revealed the set; large water tanks served as ballast so that the work wouldn't blow off the roof. The title, Transitional Object (Psycho Barn), is significant on several fronts...see the entire review in the print version of January/February's Sculpture magazine.

Cornelia Parker, Transitional Object (PsychoBarn), 2016. Instal - lation at the Metropolitan Museum of Art, NY.
New York: Jessica Stockholder - Mitchell-Innes & Nash
by Stephanie Buhmann
Jessica Stockholder,
The Guests All Crowded Into the
Dining Room, 2016Though Jessica Stockholder is known for both freestanding sculptures and works that extend from the wall into space, she introduced an interactive component into her recent exhibition. Taking over almost half of a large gallery space, the title work, The Guests All Crowded Into the Dining Room, fused aspects of sculpture and painting with an active experience of viewing. Bio­morphic shapes rendered in vibrant colors were transformed into a large stage and platform. Mean­while, each viewer's individual engagement with the work helped to make it responsive to constant flux-Stockholder's sculptural rendition of an ephemeral moment. After entering the platform, one found a staircase leading to an elevated deck. Stockholder's drawings, grouped along adjacent walls at considerable height, came into view during the ascent...see the entire review in the print version of January/February's Sculpture magazine.

Jessica Stockholder, The Guests All Crowded Into the Dining Room, 2016. Platform, deck, ramp, railing, and wire cable, installation view.
Pittsburgh: Hans Peter Kuhn - Mattress Factory
by Elaine A. King
Hans Peter Kuhn,
Acupuncture, 2016"Not All That Falls Has Wings," a group exhibition of works by Bas Jan Ader, Phyllida Barlow, Ryan Gander, Mikhail Karikis and Uriein Orlow, Cyprien Gaillard, VOID, and Anne Wenzel, considered the act of falling as an earthly condition. Curator Selen Ansen selected works focused on the "productive dimension of falling" in which, "rather than sublimating reality," the artistic gesture seeks "to create the conditions for dealing with the surface, and coming to terms with the bottom." Barlow's site-specific installations untitled:brokenstage2016, untitled: column2016, and untitled:surveillance 1,2,3, which dominated the first floor, radiated disquietude...see the entire review in the print version of January/February's Sculpture magazine.

Hans Peter Kuhn, Acupuncture, 2016. Custom LED tubes, dimensions variable.
Istanbul: "Not All That Falls Has Wings" - ARTER
by Kimberley Rush-Duyguluer
Ryan Gander, Ftt, Ft, Ftt, Ftt, Ffttt, Ftt…, 2010MadArt founder Allison Milliman wants to demystify the process of creating art by bringing it into the community. Artists, who are invited to imagine and create in a massive 4,000-square-foot space with 23-foot-high ceilings, work in full view of the street, visible through large sliding glass doors that encourage obsessed techies (this is the Amazon zone of Seattle) and other members of the public to observe or participate in the artistic process. Never has the MadArt mission been more fully realized than in Port­folio of Possibilities, a collaborative installation created by Amie McNeel, Mark Zirpel (both multimedia sculptors), and Sam Stubble­field (a technology architect). McNeel has a background in marine science, and Zirpel is fascinated by celestial science and astronomy...see the entire review in the print version of January/February's Sculpture magazine.

Ryan Gander, Ftt, Ft, Ftt, Ftt, Ffttt, Ftt…, 2010. Arrows. Top: Phyllida Barlow, untitled: brokenstage2016, 2016. Cement, fireboard, polyfiller, plywood, polycotton, polyurethane board, polystyrene, polyurethane foam, timber, and mixed media.
Seattle: Amie McNeel, Mark Zirpel, and Sam Stubblefield - MadArt
by Susan Platt
Amie McNeel, Mark Zirpel, and Sam
Stubblefield, Portfolio of Possibilities
(detail), 2016.MadArt founder Allison Milliman wants to demystify the process of creating art by bringing it into the community. Artists, who are invited to imagine and create in a massive 4,000-square-foot space with 23-foot-high ceilings, work in full view of the street, visible through large sliding glass doors that encourage obsessed techies (this is the Amazon zone of Seattle) and other members of the public to observe or participate in the artistic process. Never has the MadArt mission been more fully realized than in Port­folio of Possibilities, a collaborative installation created by Amie McNeel, Mark Zirpel (both multimedia sculptors), and Sam Stubble­field (a technology architect). McNeel has a background in marine science, and Zirpel is fascinated by celestial science and astronomy...see the entire review in the print version of January/February's Sculpture magazine.

Amie McNeel, Mark Zirpel, and Sam Stubblefield, Portfolio of Possibilities (detail), 2016. Pendulum, inflation, kinetic elements, caliper with amplified string, propeller apparatus, and laser projection through mirrored glass, dimensions variable.
DISPATCH: New York: Maurizio Cattelan - Guggenheim Museum
by Joyce Beckenstein
Latrine, potty, WC, john, head, loo, privy, throne-polite epithets for the lowly toilet-are feeble descriptions for the plumbing fixture when it achieves high art honors, as it does with Maurizio Cattelan's America, a fully functioning, 18-karat-gold replica of a commercial Kohler model. Set inside the Guggenheim's fifth floor unisex lavatory and accorded the same egalitarian public access as its more accessibly priced porcelain cousins, it transcends all prior notions of performance and interactive art. With its lofty 5th Avenue digs and surely astronomical price tag, the pedestrian appliance-in art reviews, articles, press releases, and museum wall text-insists on its non-euphemistic title. Eighteen-karat gold anything, it seems, needs no alibi. Arriving at the Guggenheim one brisk October morning, I joined a snaking line of approximately 50 visitors, mostly foreign tourists, all waiting an hour or more for a maximum five minutes alone with the golden toilet. Why, I wondered would visitors from China, Italy, Austria, Australia, and France spend precious museum time in this long line?...see the entire review in the print version of January/February's Sculpture magazine.


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