publication of the International Sculpture Center
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on the Plaza
The Ritz-Carlton New York; Battery Park City, New York
Zhang Huan: Peace
Through April 2004
The third installation
in Creative Times public sculpture series, Zhang Huans Peace
explores ancestral history and ethnic assimilation. It embodies the relation
of experience to environment, identity to culture, and body to spiritcardinal
themes for the artist. A large bell, modeled after those found in Chinese
temples and inscribed with the names of eight generations of Zhang Huans
ancestors, hangs next to a gilded life cast of the artists 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 <www.creativetime.org>
Opdyke, The Grid (detail).
Gallery of Art
American Paradigms: David Opdyke and Lane Twitchell
Through April 5, 2004
pairs two New York-based artists in an exploration of the contemporary
American cultural and political landscape. Opdykes highly engineered
sculptures and Twitchells intricate paper cutouts comment on a country
that is hyper-commercialized and psychologically disassociated. The show
features 25 works, including Opdykes 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.
Web site <www.corcoran.org>
Lawrence, Theory Installation, Glassell School.
Essential Space: Martin Delabano, Annette Lawrence, and Jesús
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. Lawrences 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.
Web site <www.the-mac.org>
Monkkonen, Abstract Sculpture, from 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 years showJon Conner, Roman
de Salvo, Amy Gartrell, Dave McKenzie, and Pentti Monkkonenhave
created works that observe and playfully comment on outdoor recreation,
roadside Americana, and idyllic pastimes and pleasures.
Web site <www.publicartfund.org>
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.
Web site <www.villamontalvo.org>
Schneider, Dead House ur, installed at the Venice Biennale.
of Contemporary Art at the Geffen Contemporary
Gregor Schneider: Dead House ur
Through September 13, 2004
Dead House ur features
an obsessively altered version of Schneiders childhood house in
Rheydt, Germany. Schneider has been dismantling and reassembling the houses
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.
Web site <www.moca.org>
Woodrow and Richard Deacon, The Wall (detail).
Art Centre Sculpture Park and Gallery
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 bothleadcombining 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 eelsthe 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 <www.sculpture.uk.com>
Hanson, Man on Mower.
Museum of Art
Fargo, North Dakota
Duane Hanson: Portraits from the Heartland
Through April 11, 2004
Despite their carefully
observed details, Hansons social realist figures, like Segals,
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.
Web site <www.plainsart.org>
Jonas, Revolted by the thought of known places. Sweeney Astray.
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 territorymixing
performance with props and mediated images. First using the bodies of
others and then narrowing the cast to herself, her videos explore conventionsof
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,
Web site <www.queensmuseum.org>
Meraz, Droopiculus Puffinacea.
Monica Museum of Art
Through May 15, 2004
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 museums
Project Space with
a site-specific installation infused with a sense of humor and wonder.
Web site <www.smmoa.org>
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. Bachs 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.
Web site <www.sculpture-center.org>
and Top Changtrakul, proposal rendering for project at The Snow
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.
Web site <thesnowshow.net>
Through April 25, 2004
To mark the 10th
anniversary of Judds death, the Tate has organized this first-ever
retrospective of the artists 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 Judds progression from two into
three dimensions. Minimalisms 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 colora
shock for some criticstakes over in works from the mid-80s
and remains an important element in the artists last work, a plywood
and Plexiglas sculpture from 1993.
Tel: +44 20 7887 8000
Web site <www.tate.org.uk>
Marioni, One Second Sculpture.
Buena Center for the Arts
Tom Marioni: The Golden Rectangle
Through April 4, 2004
Since the 1960s,
Marioni, one of the Bay Areas 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 Marionis 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.
Web site <www.yerbabuenaarts.org>