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July/August 2014
Vol. 33 No. 6

A publication of the
International Sculpture Center
Los Angeles - Liz Larner, Regen Projects
by Kathleen Whitney
Liz LarnerLiz Larner’s work has followed a varied and contradictory trajectory, and her most recent exhibition underscored the diversity of her nonlinear ideas and idiosyncratic approaches. A number of conceptually related but visually disjunctive objects were dis­­played: a dozen mid-size ceramic and epoxy pieces, two large paper and alumin­um structures, a mini-exposition of work from the late ’80s, and an unrelated, beetle-like, stainless steel “X.” The majority of these works are wall-mounted, thick, and deeply fissured ceramic slabs...see the entire review in the print version of July/August's Sculpture magazine.

Liz Larner, mantle, 2014. Ceramic epoxy, and pigment, 18.25 x 37.25 x 6 in.
Washington, DC - Patrick McDonough, Katzen Arts Center, American University
by Laura Roulet
Patrick McDonough
As Patrick McDonough would be the first to say, he doesn’t like to repeat himself. “brightveridiansentinel­events,” his seventh solo project in Washington, DC, since completing his MFA at George Washington Univ­er­­sity in 2010, again demonstrated his prolific inventiveness. His past projects have included designing citywide geo-caching games, re-jiggering foosball tables, and painting large swathes of grass with sport paint to create literal color field paintings. McDonough’s socially engaged, conceptual projects consistently focus on leisure pursuits, spectator fandom, and out-of-the-ordinary materials—all informed by prodigious research and Midwestern humor...see the entire review in the print version of July/August's Sculpture magazine.

Patrick McDonough, installation view of "brightveridiansentinelevents," 2014.
Chicago - Miller & Shellabarger, Museum of Contemporary Art Chicago
by Matt Morris
Miller & Shellabarger
As individual artists, Dutes Miller and Stan Shellabarger diverge wildly in terms of interests and means of execution. Miller’s candy-colored phallic sculptures and reworkings of homoerotic porn are orgiastic, playful, and irreverent, as was his recent installation, In the Garden, which situated his collages and paintings in a landscape of high artifice—a fey cruising ground in a garden of sexual pleasures. Shel­labarger’s process-based practice, on the other hand, consists of durational performances and their resultant ephemera, which bear traces of his paced walking, endlessly repeated handwritten signatures, or compulsive sanding...see the entire review in the print version of July/August's Sculpture magazine.

Miller & Shellabarger, Untitled (Pink Tube), 2003-ongoing. Performance with pink yarn and crochet needles, dimensions variable.
Easton, Maryland - Chul Hyun Ahn, The Academy Art Museum
by Marcus Civin
Chul Hyun AhnBaltimore artist Chul Hyun Ahn builds meticulously tricked-out boxes. Wall-mounted or resting on the floor, they hold singular abstractions. Ahn manipulates light and mirrors, both one-way and conventional. He carefully positions mirrors, light-emitting diodes, and fluorescents, staging and framing complex, multi-mirror reflections in which light takes shape, darts around the boxes, and spills out. In Ahn’s view, light becomes infinite potential. He articulates not only its ability to dazzle, but also its determination to reveal unheard-of places...see the entire review in the print version of July/August's Sculpture magazine.

Chul Hyun Ahn, installation view of "Perceiving Infinity," 2014.
Detroit - “(in)Habitation”, Museum of Contemporary Art Detroit (MOCAD)
by Roger Green
(in)HabitationHabitation has become a popular topic in Detroit. Credit the many pictures of abandoned buildings circulating as “ruin porn.” Credit, too, the late Mike Kelley’s Mobile Homestead, a full-size re-creation of his childhood Detroit home, permanently moored behind the Museum of Contemporary Art Detroit (MOCAD). In timely response, MOCAD mounted the provocative group show “(in)Habitation,” which featured sculptural installations by Michigan artists Matt Kenyon, Osman Kahn, and Jason J. Ferguson. Using flashing lights, motors, a magnet, custom electronics, and software, the artists invested traditional concepts of habitation with ideas about corporatism, the housing crisis, spiritual faith, and the gulf separating private from public space...see the entire review in the print version of July/August's Sculpture magazine.

Jason J. Ferguson, Dining Room, 2013. Trailer, wood, welded steel, carnival lights, altered dinette set, wall paper, audio, and mixed media.
New York - Germaine Richier, Dominique Levy and Galerie Perrotin
by Robert C. Morgan
Germaine RichierGermaine Richier’s recent exhibition, shared by Dominique Levy and Galerie Perrotin, was the first show of the French sculptor’s work to be seen in the U.S. since her untimely death in 1959 at the age of 57. Although Richier was associated with major figurative sculptors of the 1950s such as Kenneth Armitage, Lynn Chadwick, and Reg Butler (and less directly with Marino Marini and Alberto Giacometti), her manner of thinking and working were completely her own. With deliberate twists, linear supports, and elemental contortions, the fiercely tripodal Le Berger des Landes (1951), the remarkable Le Griffu (1952), and the sensuously ambiguous La Fourmi (1953) all render the figure in inscrutably distended positions that go beyond typical studio poses. Richier’s figures are lean, stalwart, and pulsating with vigor. ..see the entire review in the print version of July/August's Sculpture magazine.

Germain Richier, view of installation, 2014.
New York - Dorothea Rockburne, Museum of Modern Art
by Joyce Beckenstein
Dorothea RockburneThe works in this riveting exhibition looked as fresh as they did when Dorothea Rockburne first made them—in part because she re-imagined “Drawing Which Makes Itself,” her 1973 solo show at Bykert Gallery in New York. As this exhibition of the same name made clear, MoMA quickly noted the importance of Rockburne’s works, collecting them soon after they were made. The show included, in addition to Rockburne’s on-site instal­lation, acquisitions made from the 1970s through 1982, along with works from the artist’s collection...see the entire review in the print version of July/August's Sculpture magazine.

Dorothea Rockburne, installation view of "Drawing Which Makes Itself," 2014.
Pittsburgh - 2013 Carnegie International, Carnegie Museum of Art
by Elaine A. King
The 2013 Carnegie International (CI) was the 56th installment of an enduring exhibition responsible for putting the encyclopedic Carnegie Museum of Art on the art world stage. When Andrew Carnegie conceived the CI in 1896—to inform the Pittsburgh public about modern art and to advance international collaboration—it was the only show of its kind in the U.S. and second only to the grandfather of all biennials, the Venice Biennale (1895). But it has not been unique for a long time. Over the past three decades, the number of such recurrent exhibitions of contemporary art has mushroomed to more than 100, creating a global biennial culture...see the entire review in the print version of July/August's Sculpture magazine.

Phyllida Barlow, TIP, 2013. Timber, steel, spray paint, paint, steel mesh, scrim, cement, fabric, and varnish, 700 x 1200 x 4000 cm. From Carnegie International.
Fort Worth, Texas - “Mexico Inside Out: Themes in Art Since 1990”, Modern Art Museum of Fort Worth
by Seth Orion Schwaiger
“Mexico Inside Out: Themes in Art Since 1990” was impressive not only because it presented, in a cohesive and consistent fashion, works from many of the most important artists in Mexico today, but also because, taken together, these works shed light on the complex realities of a nation gripped by violence and uncertainty. The usual journalism that many of us north of the border are exposed to has made us numb to the escalating violence just to the south. This show, however, brought that reality past the surface level of sympathy to a place of deep compassion and empathy. It is no surprise that “Mexico Inside Out” was dominated by sculpture and documentary video—the two media most removed from illusion...see the entire review in the print version of July/August's Sculpture magazine.

Teresa Margolles, Muro Baleado/Shot Wall (Culiacan), 2009. 115 concrete blocks with bullet holes, 213 x 396 x 15.2 cm. From "Mexico Inside Out."
Seattle - Buster Simpson, Frye Art Museum
by Matthew Kangas
Buster SimpsonBuster Simpson’s recent, and long overdue, retrospective proved a major undertaking on a number of fronts. The challenge for curator Scott Lawri­more was to contain Simpson’s far-flung sensibility, but not taxidermize it. For the most part, he succeeded. Emerging from the avant-garde crucible of 1960s Ann Arbor and the University of Michigan-based ONCE Group, Simpson gravitated to Seattle in 1973 after co-founding the Pil­chuck Glass School with Dale Chihuly...see the entire review in the print version of July/August's Sculpture magazine.

Buster Simpson, Secured Embrace, 2011-present. Cast concrete, tree roots, and stainless steel cable, 52 x 168 x 52 in.
Helsinki - “No Man’s Land”, Forum Box
by John Gayer
Entering the gallery brought viewers into contact with an unexpected obstacle: Ilmari Gryta’s full-size transit shelter. Coated in reflective material and situated in the dimly lit entrance, it halted movement as visitors examined their reflections and the reversed view of the street behind them. The work seemed displaced as it mirrored an actual tram stop across the road. Moreover, its gleaming surfaces subverted its materiality. This conundrum—at once concrete and chimerical—offered a strange blend of the everyday and the remarkable...see the entire review in the print version of July/August's Sculpture magazine.

Meri Peura, Fata Morgana, 2013. Metal and gold leaf, 380 x 850 x 400 cm.

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