International Sculpture Center
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Sculpture cover


October 2014
Vol. 33 No. 8

A publication of the
International Sculpture Center
New York “Other Primary Structures” The Jewish Museum
by Joyce Beckenstein
“Other Primary StructuresIn 1966, Kynaston McShine presented “Primary Structures: Younger Ameri­can and British Sculptors” at the Jewish Museum. The show introduced barely known artists, including Donald Judd, Carl Andre, and Sol LeWitt, who worked in a pared-down visual language soon dubbed Mini­m­­al­ism. “Other Primary Structures,” a recent two-part exhibition curated by the museum’s deputy director Jens Hoffmann, reimagined that groundbreaking moment by restaging it with ’60s works by international artists not included in McShine’s show but who pursued similar ideas. These “others” were simultaneously taking aspects of Abstract Expressionism to new ends, using basic geometric forms, experimenting with industrial materials, and fabricating sculpture with engineering processes. In taking us back to a future with hindsight, this exhibition examined ’60s curatorial history through the lens of our own time.....see the entire review in the print version of October's Sculpture magazine.

Installation view of “Other Primary Structures” at the Jewish Museum, 2014.
Sarasota, Florida Sarasota Season of Sculpture 2014, Season VII
by Ann Albritton
Sagg Portal 6
Every two years, the Sarasota Season of Sculpture, headed by Susan McLeod, installs sculptures on Bay­front Drive between the attractive waterfront walkway and the busy Tamiami Trail. This year, curators Fayanne Hayes and Andrew Maass selected 18 sculptures by eight artists; one sculptor had as many as six pieces included, others were represented by only one work. These Season VII works were situated among remaining sculptures from previous seasons, including Seward Johnson’s Unconditional Surrender. Most of the general public and some members of the arts community love this work; others dislike it intensely for its lack of originality, as if that were an issue in art today. Heinz Aeschlimann is no newcomer to Season of Sculpture; his work has been included in earlier seasons. Composition brought to mind musical notes, but in larger-than-life burnished steel. Aesch­limann is an engineer who worked skillfully and closely with the surrounding environs, as did several other artists in the exhibition.....see the entire review in the print version of October's Sculpture magazine.

Hans Van de Bovenkamp, Sagg Portal #6, 2008. Stainless steel, 144
New York, Peter Buggenhout, Gladstone Gallery
by Jonathan Goodman
The Blind Leading the Blind #66
Peter Buggenhout’s recent show, “Caterpillar Logic II,” acknowledged the process that transforms a homely creature into a delicate, beautiful butterfly. An equally striking, if not conventionally beautiful transition occurs in these works—two very large sculptures that, in their complexity, weight, and size, border on installation. Much good art is now done in the interstices between mediums, and Buggenhout’s considerable talent has enabled him to construct large-scale pieces that command space to the point where they verge on the environmental....see the entire review in the print version of October's Sculpture magazine.

Peter Buggenhout, The Blind Leading the Blind #66, 2014. Polyurethane, epoxy, foam, polyester, polystyrene, iron, wood, plastic, aluminum, paper, and household dust, 279 x 192 x 163 .
New York, Franz Erhard Walther, Peter Freeman, Inc.
by Robert C. Morgan
Body ShapesI first discovered Franz Erhard Wal­ther’s work in a copy of Avalanche magazine at a newsstand in Harvard Square in 1972. Black and white photographs of Werksatz (1963–69) revealed his use of fabric as a medium to make sculpture. The sewn shapes invited viewers to enter into their folds and pockets—to become participants, and in the process, to discover a totally interactive spatial physicality involving one, two, or three others. At the time, this idea was entirely new to me. I was aware of Happenings and Fluxus events, but Walther’s work seemed to function on another, more structural level involving individual body and mind coordinates while working in relation to others. I could only imagine that the experience of inhabiting these fabric shapes would be not only physically frustrating, but also psychologically intense and strangely satisfying. Since the outset of his career, Walther has had more than a hundred solo exhibitions in Europe and the U.S....see the entire review in the print version of October's Sculpture magazine.
Franz Erhard Walther, installation view with Body Shapes (Ochre, Four Elements), 2011; Body Shapes (Burnt Umber, Eight Elements), 2013; Body Shapes (Brick Tone, Eight Elements), 2013; and Body Shapes (Light Brown, Eight Elements), 2012. Sewn, dyed canvas, nettle cloth, and foam, dimensions variable.
Philadelphia, Sarah Sze, The Fabric Workshop and Museum
by Becky Huff Hunter
Sarah Sze at The Fabric Workshop and MuseumIn Lines: A Brief History, anthropologist Tim Ingold observes, “What is a thing, or indeed a person, if not a tying together of the lines—the paths of growth and movement—of all the many constituents gathered there?” Sarah Sze’s first solo exhibition in Philadelphia materialized just these sorts of ephemeral, linear traces across three floors of gallery space. The show marked the culmination of a non-traditional residency in which the artist collaborated with The Fabric Workshop’s preparators, mostly from her New York studio....see the entire review in the print version of October's Sculpture magazine.

Sarah Sze, installation view of “Sarah Sze at The Fabric Workshop and Museum” (second floor), 2013.
San Antonio, Texas, Blane De St. Croix and Elizabeth Keithline, Blue Star Contemporary Art Museum
by Dan R. Goddard
Broken Landscape IIIThe Blue Star Contemporary Art Museum recently paired two sculptors, Blane De St. Croix and Eliz­abeth Keithline, reinvigorating two tired genres—landscape painting and figurative sculpture. Seven feet tall, about two feet wide, and more than 80 feet long, De St. Croix’s Broken Landscape III is a scale-model re-creation of a 14-mile stretch of the wall being constructed along the U.S./Mexico border near Eagle Pass, Texas. Based on the principles of landscape painting, this miniature landscape sculpture realistically shows the unrealistic nature of the wall. Keithline’s Smarter, Faster, Higher features a series of figures rendered through a black wire matrix that resembles a three-dimensional computer image. Her life-size installation traces human evolution from the Garden of Eden to technological nirvana, or maybe ruin. De St. Croix journeyed 3,000 miles, sketching, photographing, and talking to residents, contractors, border patrol agents, and journalists on both sides of the border to prepare for Broken Landscape III. Extensive research and adventurous travel are integral to his process, but instead of documentation, he produced a meticulously detailed sculpture, reminiscent of a model-train layout, made of plywood and foam in addition to moss, sticks, and other natural materials.....see the entire review in the print version of October's Sculpture magazine.

Blane De St. Croix, Broken Landscape III, 2013. Wood, plywood, foam, plastic, paint, branches, dirt, and other natural materials, 80
Saskatoon and Winnipeg, Canada, Eli Bornstein, Mendel Art Gallery and the School of Art Gallery, University of Manitoba
by Andrew Kear
An Art at the Mercy of LightPerception lies at the heart of Eli Bornstein’s 60-year career, spent in unwavering fidelity to the trinity of color, light, and structure. His recent show, “An Art at the Mercy of Light,” featured 21 wall-hung reliefs and freestanding constructions dating from the late 1980s through 2013. Both types of work are titled with reference to the number of zigzagging primary planes incorporated into their geometric compositions: “multiplane,” “quadriplane,” “hexaplane.” This thematic continuity was echoed by the experience of the exhibition, which was less about individual objects than uninterrupted singularity. Bornstein’s (mostly) horizontal reliefs, similar in height but varying noticeably in length, surrounded the viewer....see the entire review in the print version of October's Sculpture magazine.

Eli Bornstein, installation views of “An Art at the Mercy of Light” at Mendel Art Gallery, 2013..
Berlin, Michael Hakimi, Krome Gallery
by Adrian Duncan
Rauch 2The two objects in Michael Hakimi’s recent exhibition—works that oscillate somewhere between photography and sculpture—sat apart at the front and rear of the gallery. This situation alluded to a third, missing sculpture that ghosted the other two and broke apart the stillness of the space. Rauch 2 (Smoke 2) consists of an irregularly shaped steel sheet printed with a black and white silkscreen of a smoke plume unfurling in the air. This stilled moment is held aloft on a chrome-steel tripod. The shape of the metal sheet follows the smoke’s approximate path, its static frankness withholding the source of the smoke and the nature of its movement. To the rear of the gallery sat Ohne Titel (Großer Phönix I), or Untitled (Bigger Phoenix I), a large, upright sculpture consisting of a series of rolled, folded, and overlapped black and white photographs of a Modern­ist public sculpture in Nuremberg. Walking around the form, the viewer slowly started to build a three-dimensional picture of a sculpture whose gestalt was purposefully thwarted by a long cardboard roll skewering parts of the work into folds. This roll—presumably once used to transport the large glycee prints—thrusts diagonally through the images, at once defacing and binding them.....see the entire review in the print version of October's Sculpture magazine.

Michael Hakimi, Rauch 2, 2013. Silkscreen, lacquer, steel sheet, and hose clip, approx. 280 x 210 x 200 cm.

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