International Sculpture Center
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Sculpture cover


October 2013
Vol. 32 No 8

A publication of the
International Sculpture Center
Pasadena - Christopher Miles: Pasadena Museum of California Art
by Kathleen Whitney
Christopher Miles’s biomorphic sculptures have life, one that’s visible in the marks, dents, and patterns that inform their surfaces. Bridging humor and the grotesque, they speak to the aesthetics of painterly abstraction and trash art, with an awkward beauty that tips over into elegance. These expressionistic objects meet all the requirements of classical sculpture—they have a strong figurative presence with cadence, posture, gesture, and weight—but they are fabricated in a spontaneous and intuitive way from crumpled paper and twists of aluminum covered in runny clots of gold, ochre, red, cloying pink, and bilious green paint. Each sculpture is supported on narrow lengths of aluminum tubing that resemble the legs of a ballet dancer....see the entire review in the print version of October's Sculpture magazine.

Installation view, “Christopher Miles: Bloom,” 2013.
Newport Beach, California - Richard Jackson: Orange County Museum of Art
by Collette Chattopadhyay
Richard Jackson, who emerged during the 1970s and ’80s, is best known for environments, mazes, corridors, painting machines, and wildly extravagant dioramas that reiterate iconic artworks from the Romantic period to the present. “Ain’t Painting a Pain,” his recent retrospective, was the largest presentation of his work since his U.S. Pavilion exhibition at the 48th Venice Biennale. Curated by Dennis Szakacs, director of OCMA, “Ain’t Painting a Pain” traced Jackson’s trajectory through preliminary sketches and drawings, as well as large-scale and room-size installations....see the entire review in the print version of October's Sculpture magazine.

Richard Jackson, Painting with Two Balls, 1997. Ford Pinto, metal, wood, canvas, and acrylic paint, 610 x 110 x 610 cm.
Brockton, Massachusetts - Linda Huey: Fuller Craft Museum
by Marty Carlock
The former Fuller Art Museum, now the Fuller Craft Museum, retains its dedication to craftspeople who also produce art. Dark Garden, a recent installation by veteran ceramicist Linda Huey, was a case in point. Photos of the “garden” fail to convey its impact or scale. Many of Huey’s ceramic plants rise more than 10 feet tall. For several decades, art has been on a soapbox, denouncing our throwaway culture and its impact on the earth. Huey takes on that theme in Dark Garden, but she finds unexpected angles that shift the viewer from amused surprise to teeth- gnashing indignation. Such extreme responses stem from a tension between our desire to see beauty and a forced confrontation with rot, debris, and trash....see the entire review in the print version of October's Sculpture magazine.

Linda Huey, Dark Garden, 2013. Glazed stone­ware, rebar, wire, metal scraps, glue, and wood, dimensions variable.
Hamilton, New York - Jonathan Kirk: Clifford Art Gallery, Colgate University
by Mary E. Murray
The works featured in “Machines: Fragments and Reveries” present Jonathan Kirk as a creative spirit in love with mechanisms and an artist who revels in working out ideas through materials. Trained in a strictly formalist program under the aegis of Anthony Caro, Kirk subsequently embraced his instinct for implied narratives. He invests his sculpture with recognizable forms, derived primarily from nautical and machine subjects. Black Wave (2012), a small work composed of painted wood and epoxy with a rippling line and a motif that evokes submarines, perfectly demonstrates this tendency. ...see the entire review in the print version of October's Sculpture magazine.

Jonathan Kirk, Winged Gudgeon, 2008. Painted wood, 13.5 x 52 x 28 in.
New York - Anne Lilly: Galerie Swanstroem
by Jonathan Goodman
Anne Lilly, a sculptor from Boston, recently put on a terrific show of tabletop kinetic works set in motion by hand. Created to necessarily exacting specifications, the various components weave in and out through her steel forms, just missing small disasters of entanglement or collision. Kinetic sculpture requires effort to start the motion and keep it moving—we remember not only the exquisite balance of George Rickey’s art, but also its graceful movement in response to the gentlest of winds. In Lilly’s case, the works are smaller, so they lend themselves to being turned by hand. As time passes and momentum builds, they become capable of performing pirouettes and other beautiful rotations, with the individual elements coming together and opening up in precisely defined choreography, cleaving space as though the atmosphere were tangible....see the entire review in the print version of October's Sculpture magazine.

Anne Lilly, Eleven Miles Above Virgin, Utah, 2010. Stainless steel, 19 x 19 x 19 in.
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