International Sculpture Center
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May 2004 Vol.23 No.4
A publication of the International Sculpture Center


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Northern Qi Dynasty, Standing Buddha,
from “Return of the Buddha.”

Arthur M. Sackler Gallery,
Smithsonian Institution

Washington, DC
Return of the Buddha:
The Qingzhou Discoveries

Through August 8, 2004

In 1996 workers leveling a school sports field in Qingzhou (a small city on China’s northeast coast) accidentally unearthed a cache of about 400 objects, including a number of remarkable 6th-century sculptures. Some time in the 12th century, these limestone statues of Buddhas and bodhisattvas were interred in a pit on the site of a long-destroyed temple, where they remained for close to 800 years. The reason for the burial remains unclear: perhaps the images became obsolete and were ritually retired; perhaps they were hidden during a wave of Buddhist persecution. The 35 sculptures included in this show rank among the highlights of the find: many retain an unusual amount of their original gilding and vibrant color, and all display finely detailed and sensitive carving.
Tel: 202.357.2700
Web site <>

Claudette Schreuders, The Three Sisters.

ASU Art Museum,
Arizona State University

Tempe, Arizona
The Long Day: Sculpture
by Claudette Schreuders

Through June 19, 2004

Schreuders, a post-Apartheid-generation South African artist best known for her autobiographical figurative sculpture, is inspired by family photographs and memories of growing up white, female, and Afrikaans in the broader context of national racial and political realities. Her carved and painted wood sculptures pay homage to African tribal arts, the Colon figures of West Africa, and the tradition of religious woodcarvings in Europe. Often moody, her figures depict individuals grappling with South Africa’s past. According to Schreuders, “These new works explore how domestic life goes on, whatever the political situation is, and also how the politics of the place you live manifests itself in your personal space.”
Tel: 480.965.2787
Web site <>

Margo Sawyer, Blue. .

Blaffer Gallery,
University of Houston
Margo Sawyer:
Contemplative Spaces

Through June 13, 2004

For more than 20 years, Sawyer has been engaged in a personal voyage of discovery focused on architecture and ritual. She has visited sacred spaces in Europe, Southeast Asia, and the Far East, where she became interested in the philosophies of Buddhism and Hinduism, meditation, and the sensory qualities of spiritual spaces. Her installations consider the metaphysical relationships among space, material, time, and Eastern architecture within the framework of a contemporary vocabulary. In “Contemplative Spaces,” Sawyer continues this investigative spirit, working within the confines of Modernist architecture to suggest the “equivocal nature” of space, engage the viewer, and encourage a sense of transformation and transcendence.
Tel: 713.743.9530
Web site <>

Louise Bourgeois, Untitled, from
“Working in Brooklyn.”

Brooklyn Museum of Art

Open House:
Working in Brooklyn

Through August 15, 2004

This comprehensive survey celebrates the creative renaissance underway in Brooklyn, home to New York City’s greatest concentration of visual artists. Five thousand artists and 50 galleries have transformed the borough into what is considered the most diverse and vibrant art scene in the U.S. and a mecca for many artists on the international scene. “Open House” emphasizes the multi-generational, multi-ethnic, and multi-national artist communities that have breathed new life into such neighborhoods as Williamsburg, DUMBO, Red Hook, Greenpoint, Bedford-Stuyvesant, and Sunset Park. Selected artists include long-established residents Vito Acconci, Louise Bourgeois, and Martha Rosler; mid-career artists Terry Adkins and Roxy Paine; and newcomers Haluk Akakçe and Rina Banerjee. All of the featured works are new or recent (made since 2000), somany are on view for the first time.
Tel: 718.501.6330
Web site <>

Renée Green, video detail from “Wavelinks.”

Contemporary Arts Center
Renée Green: Wavelinks
Through May 16, 2004

Green’s installations attempt to unearth hidden histories and to expose the beliefs underlying supposedly unbiased portrayals of fact. Using an anthropological approach toward her subjects, she conducts research and then offers viewers the results of her studies. Her recently completed “Wavelinks” series consists of seven sound and video installations that explore the human relation to natural and artificial sounds. Each work combines factual information with fictional narrative elements to construct a broad view of aural experience and its philosophical portrayal as a unique, inescapably abstract aesthetic. Green considers the political uses of sound, its relation to the visual arts and space, its visceral impact, and its potential to create alternative realities.
Tel: 513.345.8415
Web site <>

Eva Hesse, Oomsmaboomba.

Kunsthalle Wien
Eva Hesse: Transformations—
The Sojourn in Germany, 1964–65

Through June 6, 2004

In contrast to the recent touring Hesse blockbuster exhibition, this show focuses on works created during a brief, yet pivotal moment in the artist’s career. Her stay in Germany—from which she and her family had been forcibly expelled in 1938—marked a turning point in both Hesse’s personal and artistic development. During this 14-month period, she shifted tactics and methods: from painting and drawing toward collage and sculptural works, from overtly figurative subject matter to geometric minimalization of form. The show features 60 drawings, collages, gouaches, and reliefs that illustrate Hesse’s move toward formal reduction, including the “nonsense” drawings that led to her three-dimensional relief objects—the decisive breakthrough in her development as a sculptor.
Tel: +43 1 52189 33
Web site <>

Tony Matelli, Abandon.

Kunsthalle Wien
Tony Matelli
Through June 6, 2004

Matelli transforms the Kunsthalle’s project space at Karlsplatz into a hyper-real greenhouse. Weeds—artificial, perfectly made, and carefully mounted—overtake the pristine urban architecture. Matelli’s provocative contradictions (in this case between the hyper-civilized nature outside the glass and the hyper-realistic artifice inside) have recently received international attention. His sculptures, which he says “are just real enough” target the marginal areas of everyday life, wittily and sometimes maliciously skewering values and appearances. As he says, “Weeds are the horticultural version of a zit. They represent a breakdown, either a failure or refusal to fight the perfunctory battle against entropy. One weed is a forgivable blemish. Overgrowth is hopeless abandon. Overgrowth inside is the cultivation of abandonment, a rewriting of the rules. The celebration of failure.”
Tel: +43 1 52189 33
Web site <>

Fausto Melotti, Il museo, from
the “teatrini” series.

MAC’s (Museum of Contemporary Art)
Grand Hornu

Hornu, Belgium
Fausto Melotti
Through June 20, 2004

Melotti’s sculpture evinces lightness and poetry. A major figure in Italian 20th-century art, he is best known for his teatrini—the small stage sets housing evocative tableaux of figures and objects that he made from the end of the 1950s to 1984. Over the course of his 60-year career he worked in a wide range of styles, beginning in a Constructivist mode in the ’20s, moving through a figurative phase, and finally shifting toward abstraction. Melotti’s abstractions were inspired by the physical, intellectual, and harmonic laws imposed by spatial definitions and musical tempo—rhythms, waves, rests, and counterpoint take on shape in clay and plaster. This retrospective also includes drawings, as well as a series of never-before exhibited ceramic works.
Tel: +32 65 65 21 21
Web site <>

Rebecca Holland, Glaze, from “New Installations.”
Ann Reichlin, Schism, from "New Installations"

Mattress Factory
New Installations: Artists in Residence
Through June 27, 2004

Through this spring, the Mattress Factory features a range of new projects by eight resident artists. Jeremy Boyle has created his ultimate studio and makes works on site while living at the museum during the show. Rebecca Holland has melted 4,235 pounds of hard candy and cast the basement floor. Liza McConnell’s Diorama Obscura: Riding Fences is activated by a viewer walking on a treadmill. Curtis Mitchell’s multi-room Track combines a plethora of
elements and references, from burned and washed Oriental rugs to Gene Kelly’s dance steps traced on photographic paper with caustic chemicals. Ara Peterson, Jim Drain, and Eamon Brown combine geodesic spheres, kaleidoscopes, and computer-generated video imagery in Bizarre Love Triangle. Ann Reichlin has created a space of suspended narrow passages, interior chambers, and tilted walls. For Lux Lucis Lumen, Margo Sawyer uses slowly changing LED lights to transform colored blown glass set into the floor of a darkened space. And Lynne Yamamoto’s Smooth Cayenne explores the myths and realities of pineapple plantations.
Tel: 412.231.3169
Web site <>

Christo, The Gates, Project for Central Park,
New York City

Metropolitan Museum of Art
New York
Christo and Jeanne-Claude: The Gates, Central Park, New York
Through July 25, 2004

Christo and Jeanne-Claude’s widely anticipated The Gates project for Central Park doesn’t open until February 2005. In the meantime, the Met is offering a preview. Fifty preparatory drawings and collages by Christo, 60 photographs, and 10 maps and technical diagrams document the project’s evolution from its beginnings in 1979 through the final accepted design of 7,500 saffron-colored gates placed at 12-foot intervals throughout 23 miles of walkways in the park. Also on view are the components of one of the 16-foot-high gates.
Tel: 212.535.7710
Web site <>

Judy Chicago, Rainbow Pickett, from
"A Minimalist Future."

Museum of Contemporary Art
at California Plaza

Los Angeles
A Minimal Future? Art as Object 1958–1968
Through August 2, 2004

“A Minimal Future?” is the first large-scale exhibition in the U.S. to examine the emergence and foundations of Minimalism, a critical milestone in the history of contemporary art. Featuring over 150 key selections and bodies of work from 1958 to 1968 by 40 American artists who emerged in the early to mid-’60s, the show considers minimal art as a catalyst that shattered traditional notions of artmaking by redefining the form, material, and production of the object and its relationship to physical and temporal space and the spectator. Featured artists include Carl Andre, Judy Chicago, Dan Flavin, Dan Graham, Eva Hesse, Robert Irwin, Donald Judd, Richard Serra, Tony Smith, and Robert Smithson.
Tel: 213.626.6222
Web site <>

Dieter Roth, Literatur Sausage
(Martin Walser: Halftime).

Museum of Modern Art and P.S.1
Queens, New York
Roth Time: A Dieter Roth Retrospective
Through June 7, 2004

A sculptor, poet, graphic designer, performer, publisher, and musician, Roth was above all a provocateur who despised routine. His artistic output was innovative, flexible, unstable, and often chaotic. This two-part survey of 375 works is the first U.S. exhibition to explore a wide-ranging career that spanned 50 years.
A colleague of Beuys and one of the most influential European artists of the postwar period, Roth ranged across a wide artistic terrain, from painting and graphic work to sculpture and installation, to film and video. He was particularly fascinated with organic substances, including grease stains, mold formations, insect borings, chocolate, and cheese, and their decomposition. MoMA presents a chronological survey of Roth’s career, while P.S.1 houses five monumental self-contained installations that explore time, decay, and the diary.
Tel: 212.708.9400 (MoMA);
718.784.2084 (P.S.1)
Web site <> <>

Mona Hatoum, First Step.
Liza Lou, Kitchen (detail).
Both works from “Domestic Odyssey.”

San Jose Museum of Art
San Jose
Domestic Obyssey
Through July 3, 2004

The artists in “Domestic Odyssey” use household items—ordinary housewares, appliances, and furniture—as touchstones for their work, transforming everyday objects into seductive, whimsical, and thought-provoking meditations on cultural, social, and autobiographical issues. Liza Lou’s Kitchen, a 168-square-foot tour de force covered with 20 million beads, serves as the focal point of the show. The life-sized replica includes a tile countertop, dish-filled sink, a cherry pie cooling on an oven rack, and a table set for breakfast, yet it poignantly excludes any human presence. Other artists include Yoram Wolberger, whose sculptures are marvels of creative destruction, and Carlee Fernandez, whose satirical hybrids combine trophy animals with ordinary household utensils to critique our treatment of animals. Works by Mona Hatoum, Margarita Cabrera, Stephen Litchfield, Willie Cole, and Marlene Alt are also featured.
Tel: 408.271.6840
Web site <>

Tate Britain
Through May 31, 2004

In “In-A-Gadda-Da-Vida,” three of Britain’s best-known artists join in a unique collaborative effort. Angus Fairhurst, Damien Hirst, and Sarah Lucas, who first met at Goldsmiths College, continue to influence each other’s work through a process of social interaction and intermittent collaboration. Biblical narrative and psychedelic rock form the backdrop for a show that explores life, love, sex, death, and destruction. (The exhibition’s title—a mutated reference to the Garden of Eden—comes from the 1968 Iron Butterfly recording.) Despite the common theme, the artists maintain their individual identities: Lucas uses commonplace, disposable items to create unexpectedly finely crafted objects; Fairhurst’s work takes many forms, from drawings and text works to his bronze gorilla sculptures; and Hirst makes increasingly complex vitrine installations. Each has created new work for the show.
Tel: +44 20 7887 8008
Web site <>

Wave Hill
Bronx, New York
Through May 31, 2004

A tribute to New York City’s resumption of a full recycling program, “Reduce/Reuse/Reexamine” features artists who use conceptual methods to explore issues of consumption and waste generation and removal, and who reinvigorate discarded materials. Household garbage, toilet paper tubes, tag-sale cast-offs, and plastic newspaper bags become creative building blocks, transformed into jackets, furniture, and installations. Some artists recover the broken detritus of everyday life, while others document the effects of rampant consumption in urban streets and in landfills. Some of the works are participatory: to learn the lesson of “making-do,” visitors can fix a broken object using materials provided by Peggy Diggs, who makes new objects from old. Exhibiting artists include Ron Baron, Tamiko Kawata, Sarah Hollis Perry, Steven Siegel, Mierle Laderman Ukeles, and Janet Zweig.
Tel: 718.549.3200
Web site <>


Buddha: Qingzhou Municipal Museum, courtesy of The State Administration of Cultural Heritage, People’s Republic of China
Schreuders: courtesy Jack Shainman Gallery, New York
Bourgeois: courtesy Brooklyn Museum of Art
Hesse: © The Estate of Eva Hesse, courtesy Hauser & Wirth, Zürich and London
Matelli: courtesy Sies + Höke Gallerie, Düsseldorf
Melotti: Jean-Pierre Maurer, courtesy Fondation Melotti
Holland and Reichlin: Michael Olijnyk
Chicago: © Judy Chicago/Artists Rights Society, New York
Christo: Wolfgang Volz © Christo 2003
Roth: © Heini Schneebeli, Dieter Roth Foundation, Hamburg
Hatoum and Lou: courtesy San Jose Museum of Art
Duffy and Perry: courtesy Wave Hill
Mike Parsons, courtesy Jay Jopling/White Cube, London, and Science Ltd.

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