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March 2004 Vol.23 No.2
A publication of the International Sculpture Center


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Zhang Huan, Peace.

Art on the Plaza
The Ritz-Carlton New York; Battery Park City, New York
Zhang Huan: Peace
Through April 2004

The third installation in Creative Time’s public sculpture series, Zhang Huan’s Peace explores ancestral history and ethnic assimilation. It embodies the relation of experience to environment, identity to culture, and body to spirit—cardinal themes for the artist. A large bell, modeled after those found in Chinese temples and inscribed with the names of eight generations of Zhang Huan’s ancestors, hangs next to a gilded life cast of the artist’s naked body. Viewers are invited to drive the body into the bell, thereby forcing a confrontation between the immigrant artist and his ancestral past. Performance by proxy, Peace vocalizes the clash of cultures and, within view of Ellis Island, asks viewers to consider their own relationship to identity.
Web site <>

David Opdyke, The Grid (detail).

Corcoran Gallery of Art
Washington, DC
American Paradigms: David Opdyke and Lane Twitchell
Through April 5, 2004

“American Paradigms” pairs two New York-based artists in an exploration of the contemporary American cultural and political landscape. Opdyke’s highly engineered sculptures and Twitchell’s intricate paper cutouts comment on a country that is hyper-commercialized and psychologically disassociated. The show features 25 works, including Opdyke’s atrium installation of thousands of paper airplanes made from pages of an Arabic-English dictionary, specially commissioned for the Corcoran. His sculptures rekindle memories of such small-scale childhood diversions as model building and miniature railroading. Despite their diminutive scale and playfulness, these detailed miniatures manage to evoke disturbing realities in a world of ominous portent.
Tel: 202.639.1700
Web site <>

Annette Lawrence, Theory Installation, Glassell School.

The Mac
Dallas, Texas
Essential Space: Martin Delabano, Annette Lawrence, and Jesús Moroles
Through March 28, 2004

The third and final part of The Belo Foundation Sculpture Series consists of new work by three Texas sculptors. Delabano focuses on irony, verbal and visual puns, and personal experiences, conveying his themes through figurative imagery, quick lines, and cartoon shapes. His sculptures evoke dream-like qualities, with surfaces that seem to swim and forms that range from the odd
to the surreal. Lawrence’s recent installations use string, packing tape, and brown paper. Her work responds to specific architectural and physical spaces, transforming them with the illusion of light and shape and engaging viewers as they attempt to navigate their way through the tracery. Moroles is master of granite, creating organic forms that are hulking and graceful, imposing and inviting. Here, he shows a group of figurative works featuring delicately carved linear rhythms that form interior figures within the stone.
Tel: 214.953.1MAC
Web site <>

Pentti Monkkonen, Abstract Sculpture, from “American Idyll.

MetroTech Center
New York
American Idyll
Through Fall 2004

Once again, Public Art Fund is presenting its annual exhibition of work by emerging artists. Each year, artists are asked to respond to the Commons, the public spaces surrounding the vibrant downtown areas of MetroTech Center and Brooklyn Polytechnic. The artists in this year’s show—Jon Conner, Roman de Salvo, Amy Gartrell, Dave McKenzie, and Pentti Monkkonen—have created works that observe and playfully comment on outdoor recreation, roadside Americana, and idyllic pastimes and pleasures.
Tel: 212.980.4575
Web site <>



Herb Parker, Caracol.

Saratoga, California
Herb Parker: Sculpture on the Grounds
Through April 2004

Parker creates fanciful large-scale architectonic structures made
of sod, rammed earth, and steel. His ephemeral and nature-based works range from grass-covered temples, enclosures, and shelters to stone grottoes and excavated sites. For Montalvo, Parker has envisioned a nautilus-like colonnaded installation, sited at the entrance to the formal garden. The spiraling colonnade leads into a rammed earth tower. Inside the chamber, there is a place for one person to sit and look out through the oculus. Although the work itself is temporary, its spiral form suggests infinity and continuity: the artist hopes that it will be a place of dialogue with nature, “a passage, and a point of reflection.”
Tel: 408.961.5813
Web site <>

Gregor Schneider, Dead House ur, installed at the Venice Biennale.

Museum of Contemporary Art at the Geffen Contemporary
Los Angeles
Gregor Schneider: Dead House ur
Through September 13, 2004

Dead House ur features an obsessively altered version of Schneider’s childhood house in Rheydt, Germany. Schneider has been dismantling and reassembling the house’s interior since he was 16. Layering walls on walls, adding dead-end corridors and secret passageways, living within the work and constantly revising it, he has created a haunting depiction of domestic memory. His duplicated rooms both resemble and conceal the original spaces, and so many changes have been made that Schneider can no longer reconstruct the original layout. This is the first time the work has been presented in its entirety in the U.S.; the whole structure is installed at MOCA, where visitors enter a succession of rooms that provide a new perspective on the complex interaction between space and the viewer.
Tel: 213.626.6222
Web site <>

Bill Woodrow and Richard Deacon, The Wall (detail).

New Art Centre Sculpture Park and Gallery
Salisbury, U.K.
Lead Astray: New Shared Sculptures by Bill Woodrow and Richard Deacon
Through May 3, 2004

Woodrow and Deacon have been making shared sculpture together since the early ’90s. For “Lead Astray” they have tackled a material that is new to them both—lead—combining it with found objects collected in woodlands and from around their studios. While the found objects acted
as catalysts for the final works, the historical context of lead as a medieval medium connects the finished sculptures both literally and metaphorically: pieces of wood are joined with lead using medieval techniques and much of the imagery dates back to the Middle Ages. A carefully made wall reminiscent of a stockade, a skull, a cage of eels—the images are powerful, macabre, and disturbing. The craftsmanship is obvious, as is the enjoyment that the artists had in the making.
Tel: +44 1980 862244
Web site <>

Duane Hanson, Man on Mower.

Plains Museum of Art
Fargo, North Dakota
Duane Hanson: Portraits from the Heartland
Through April 11, 2004

Despite their carefully observed details, Hanson’s social realist figures, like Segal’s, can appear as representatives of a type rather than as individuals. This exhibition makes the case for a specifically Midwestern impetus and context. Hanson was born and raised in Minnesota farming communities, places where families depended on the land and livestock for sustenance. From his early lessons, Hanson learned to appreciate the ethic of hard work and survival, to champion the marginalized, and to recognize and admire the ordinary.
Tel: 701.232.3821
Web site <>


Joan Jonas, Revolted by the thought of known places. Sweeney Astray.

Queens Museum of Art
Queens, New York
Joan Jonas: Five Works
Through March 14, 2004

Working in New York as a sculptor, by 1968 Jonas moved into what was then considered new territory—mixing performance with props and mediated images. First using the bodies of others and then narrowing the cast to herself, her videos explore conventions—of movement and choreography, of female images and roles, of reality and imagination. By the mid-’70s she arrived at a narrative structure that borrows from fairy tales, mythology, poetry, and folk songs, weaving these elements into a complex, non-linear formal presentation. While Jonas is widely known in Europe, her groundbreaking performances are lesser known in the U.S. This show includes a selection of her most significant installations, a video room, and a survey of her drawings, photographs, and sketchbooks.
Tel: 718.592.9700
Web site <>

Adrian Meraz, Droopiculus Puffinacea.

Santa Monica Museum of Art
Santa Monica
Adrian Meraz
Through May 15, 2004

Meraz constructs intricate, playful worlds from such unassuming materials as Popsicle sticks, plywood, and newspapers. He has created a futuristic cityscape from paper bags, transfigured a book into the infinity of a Möbius strip, and fashioned an unplayable musical instrument, encasing it
in a warren of secret compartments. For this show, Meraz fills the museum’s Project Space with
a site-specific installation infused with a sense of humor and wonder.
Tel: 310.586.6488
Web site <>

Ilya and Emilia Kabakov, The Empty Museum (conceptual rendering).

Long Island City, New York
Ilya and Emilia Kabakov: The Empty Museum
Through April 11, 2004

The Empty Museum, shown here for the first time in North America, replicates a traditional museum gallery, with dark red walls, wood moldings, and benches for quiet contemplation. On the walls, however, the expected paintings have been replaced with pools of light. Bach’s Passacaglia resounds through the space. An ambiguous state of construction or demise presides, but the overall effect is one of calm. The substitution of music and light for paintings connects the space of the museum, the concert hall, and the cathedral. As with many Kabakov installations, the room functions as both a manifestation of social institutions and as a container within which imagination and creativity endure. Taking the museum as metaphor, The Empty Room invites us to reconsider the status of the work of art and the age-
old hierarchy among the arts.
Tel: 718.361.1750
Web site <>

LOT-EK and Top Changtrakul, proposal rendering for project at The Snow Show.

The Snow Show
Kemi and Rovaniemi, Finland
Through March 31, 2004

The Snow Show is a unique cultural project that brings together internationally recognized artists and architects to design collaborative installations using snow and ice as their primary materials. This winter, in its second incarnation, the outdoor exhibition presents a dozen new constructions of significant beauty and scale. Curators Lance Fung and Hilkka Liikkanen of the Rovaniemi Art Museum have selected artist/architect teams that include Tadao Ando, Diller + Scofidio, John Roloff, Anish Kapoor, Zaha Hadid, Cai Guo-Qiang, Arata Isozaki, Yoko Ono, Do-Ho Suh, Lawrence Weiner, Ernesto Neto, Rachel Whiteread, Carsten Höller, and Kiki Smith.
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Donald Judd, Untitled.

Tate Modern
Donald Judd
Through April 25, 2004

To mark the 10th anniversary of Judd’s death, the Tate has organized this first-ever retrospective of the artist’s sculptures. Elegantly austere and surprisingly sensual, the severely rectilinear forms have a powerful physical and optical presence, incorporating the space around them. The exhibition, which includes more than 40 works, begins with a series of paintings and handmade works from the early ’60s showing Judd’s progression from two into three dimensions. Minimalism’s sculptural tenets are fully explored in the classic factory-made floor and wall works from the ’60s and ’70s, realized in a wide range of materials including galvanized iron, steel, Plexiglas, brass, copper, and plywood. Vibrant color—a shock for some critics—takes over in works from the mid-’80s and remains an important element in the artist’s last work, a plywood and Plexiglas sculpture from 1993.
Tel: +44 20 7887 8000
Web site <>

Tom Marioni, One Second Sculpture.

Yerba Buena Center for the Arts
San Francisco
Tom Marioni: The Golden Rectangle
Through April 4, 2004

Since the 1960s, Marioni, one of the Bay Area’s most important conceptual artists, has created a distinctive body of work by challenging the definitions of artistic genres. He has explored performance as sculptural action, incorporating time, sound, light, air, and social situations with form. This retrospective centers on The Temple of Geometry, a new site-specific installation commissioned by YBCA. A series of white cubes within the white cube of the gallery, The Temple continues Marioni’s interest in Asian art and Zen Buddhism. He treats the gallery as a space for social interaction, emphasizing creative process over finished product, the ephemeral over the permanent. The artist also extends The Act of Drinking Beer with Friends into the galleries. This ongoing performance project continues with Marioni in residence on a weekly basis.
Tel: 415.978.2787
Web site <>