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October 2017
Vol. 36 No. 8

A publication of the
International Sculpture Center
St. Lewis: Medardo Rosso - Pulitzer Arts Foundation
by Lilly Wei
Medardo Rosso, Ecce puer (Behold
the Child), 1906. Bronze with plaster
investment, 43.8 x 36 x 33 cm. Though Medardo Rosso (1858–1928) is not as widely known today as he should be, a number of his contemporaries (including the influential French poet Guillaume Apollinaire) considered him to be as great a sculptor as Rodin. "Medardo Rosso: Experiments in Light and Form" addressed this omission with a visually arresting and extremely informative presentation of his works from 1882 to 1906, curated by Sharon Hecker, a leading Rosso scholar, and Tamara H. Schenkenberg, an associate curator at the Pulitzer Arts Foundation.
The exhibition, the most comprehensive museum survey of Rosso's work in the U.S. to date, featured approximately 100 sculptures, drawings, and photographs, many on view for the first time. ...see the entire review in the print version of October's Sculpture magazine.

Medardo Rosso, Ecce puer (Behold the Child), 1906. Bronze with plaster investment, 43.8 x 36 x 33 cm.
Atlanta: Elizabeth Lide - The Museum of Contemporary Art of Georgia
by Donna Mintz
Elizabeth Lide, Putting the House in Order, 2016–17. With a focus on organizing space, Atlanta-based Elizabeth Lide explores how we shape--and are shaped by--our personal past. Her recent, multi-part installation of sculpture, drawing, and stitchery, Putting the House in Order, which marked the culmination of a 2015/16 Working Artist Project Fellowship awarded by the museum, investigated the literal and metaphorical influence of memory, family history, and accumulated domestic objects, all of which Lide believes can be both burden and assurance. How much space does the past assume in our present lives? If memory were tangible, how would its connections manifest? A framed poem by the Chinese writer Ha Jin was integral to Lide's installation. ...see the entire review in the print version of October's Sculpture magazine.

Elizabeth Lide, Putting the House in Order, 2016–17. Built room inside gallery, paper and paper pulp, paint, stitchery, Ha Jin poem, drawings, clothes, family objects, plaster, aluminum vases poured from family objects, record player, 8-mm film, and plaster and paper-pulp vases with human hair and pigment molded from family objects, installation view.
Brooklyn: Daniel Boccato - The Journal Gallery
by Christopher Hart Chambers
Daniel Boccato, laxface, 2016.Kevin Francis Gray's recent solo exhibition found the neoclassically inspired bronze and marble sculptor making his boldest moves yet in testing the representational ideal of the human figure against a contemporary perspective. More than ever, the exploration of tensions inherent in the dichotomy between figuration and abstraction, which has defined Gray's practice, becomes the central subject of his work. Bolstered not only by his decision to employ marble alone as his medium, but also by his continuing interest in studying and then departing from the classical figural tradition, his new sculptures-- attentively and with deep consideration-- openly render the figure as form. Considering the sculptures together, it becomes difficult to tell at what degree of completion--or incompletion--each was meant to be presented. ...see the entire review in the print version of October's Sculpture magazine.

Daniel Boccato, laxface, 2016. Epoxy, fiberglass, and polyurethane, 55.5 x 31 x 12 in.
New York: Kevin Francis Gray - Pace Gallery
by Arthur Ivan Bravo
Kevin Francis Gray, Salamander, 2017.Donna Dodson and Andy Moerlein recently transformed Boston Sculptors Gallery into a new kind of Wonderland with their related shows, "Zodiac" and "Geology." Dodson's anthropomorphic deities, arranged in two circles, reference both Chinese and Western zodiac symbols. The archetypal figures emanate an extraordinary calm. Each takes a similar stolid stance yet clearly expresses her individuality. Careful carving of maple, elm, walnut, mulberry, and cherry allows the natural grain and color to flow through smoothly sanded and polished surfaces. Dodson's figures often have painted features, bringing to mind the makeup used by some women. There is an intimacy of scale as well as of demeanor, with each goddess standing just over two feet tall. ...see the entire review in the print version of October's Sculpture magazine.

Kevin Francis Gray, Salamander, 2017. Carrara marble, 95 x 82 x 50 cm.
New York: Marisa Merz - The Met Breuer
by Jan Garden Castro
Marisa Merz, installation view of "The Sky is a Great Space" emphasized the consistency behind Marisa Merz's body of work over chronology, starting with the larger-than-life "Living Sculpture" series (1966) at the exhibition entrance. These giant slinky-toy-like aluminum sheets hung from the ceiling in curls, spirals, and amorphous dangling "bodies"--most (excepting a wrapped armchair and a tent-like shape) without antecedent as "forms." Breath alone could make them sway. Though installed in a spacious setting at the Met Breuer, these same shapes were once jammed together around a television set in the Merz home in Turin (as seen in a photo on the catalogue cover), where one can imagine them moving and bumping into people. ...see the entire review in the print version of October's Sculpture magazine.

Marisa Merz, installation view of "The Sky is a Great Space," 2017.
Pittsburgh: "so it is" - Mattress Factory
by Elaine A. King
Rita Duffy, The Souvenir Shop,
2017. The group exhibition "so it is," curated by Belfast native John Carson, presented an impressive collection of installation work by seven artists from Northern Ireland. A practicing artist himself, Carson lived in Northern Ireland in the 1970s and '80s during the Troubles. He drew on this experience while making his selections, choosing Ursula Burke, Willie Doherty, Rita Duffy, John Kindness, Locky Morris, Philip Napier, and Paul Seawright for their sensitivity to this volatile time of political and nationalistic conflict. Although the work here was not directly about the Troubles, it was nevertheless informed by suffering and pain. Entering the 1414 building, one stepped directly into Duffy's The Souvenir Shop, an installation commemorating the 1916 Easter Rising. ...see the entire review in the print version of October's Sculpture magazine.

Rita Duffy, The Souvenir Shop, 2017. Functioning shop with original artwork and multiples for sale, installation view.
Vancouver: "Juxtapoz x Superflat" - Vancouver Art Gallery
by Rachel Rosenfield Lafo
David Shrigley, The Life Model, 2012. "Juxtapoz x Superflat," a group exhibition of 36 international artists organized by Kaikai Kiki Co., Ltd and co-curated by Japanese artist Takashi Murakami and Evan Pricco, editor-in-chief of Juxtapoz Art & Culture Magazine, premiered as a four-day pop-up show at Pivot Art + Culture in Seattle; it then had a three-month run at the Vancouver Art Gallery. The show, which was conceived by Murakami, expanded on his 2001 "Superflat" exhibition at the Los Angeles Museum of Con - temporary Art to include artists who have been featured in Juxtapoz, a publication known for promoting underground and alternative contemporary art. ...see the entire review in the print version of October's Sculpture magazine.

David Shrigley, The Life Model, 2012. Mixed media, dimensions variable.
DISPATCH: Venise - Venice Biennale
by Barbara T. Hoffman

Anne Imhof, Faust, 2017.Christine Macel, curator of the Centre Pompidou and of "Viva Arte Viva," the 57th International Exhibition, describes art as a force for life: "Art in itself helps us to navigate in these times; its very existence is a resistance in itself… Contemporary art cannot be understood as mere representation or imitation: it is a reality tout court, an instrument of inquiry, both of the creative process and of the different questions pertaining to Humankind and the world." Macel's selection of Carolee Schneemann for the Golden Lion Lifetime Achievement Award, based in part on a career devoted to pioneering performances and installations probing the relationship between the body and freedom, coupled with Tehching Hsieh's representation of Taiwan and the guidelines of "Viva Arte Viva," suggest that Venice in 2017 might be a fertile field for an investigation into the theme of the body as art. ...see the entire review in the print version of October's Sculpture magazine.

Anne Imhof, Faust, 2017.


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