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January/February 2015
Vol. 34 No. 1

A publication of the
International Sculpture Center
Bronx, New York: Tony Feher - Bronx Museum of the Arts
by Susan Canning
Tony FeherTony Feher likes to keep it simple. As a touring retrospective, most recently at the Bronx Museum of the Arts, amply demonstrated, his unpretentious arrangements of the cast-off detritus of daily life—plastic bags and bottles, paper, pennies, wire, coat hangers, Styrofoam, string, marbles, jar lids—speak poetically of the material world, communal circumstance, and labor. Performing or perhaps re-forming daily rituals, his sculptures compulsively call us to order and to play. Unassuming yet slyly insistent, nonchalant, ephem­eral, at times hardly there, Feher’s work makes us stop and look again. Circulating narratives of service and disposal, most, if not all, of the items that Feher chooses for his pieces have long since been divested of their original purpose....see the entire review in the print version of January/February's Sculpture magazine.

Tony Feher, Take It Up With Tut, 2008. Found objects, painted wood, and plastic crates, 182.9 x 269.2 x 127 cm.
Los Angeles: Rina Banerjee - L.A. Louver Gallery
by Kathleen Whitney
“Disgust” is a specific and powerful term; Rina Banerjee uses it to describe bodily response and emotion at the extreme of self-control. She perceives disgust as the trigger for a transformative moment that alters perception. The term is particularly apt because so much of her work refers to the female body, a site for societal repression. As Ban­erjee has stated, “The show features the idea of fluids, which mark the uncontrollable body, the body that emits not only smell but liquid.” Banerjee’s work is a form of poetic bricolage that freights its readymade and repurposed parts with meanings relating to spirituality, colonialism, identity, the East Asian diaspora, and globalization...see the entire review in the print version of January/February's Sculpture magazine.

Rina Banerjee, She was now in western style dress covered in part of Empires’ ruffle and red dress, had a foreign and peculiar race, a Ganesha who had lost her head, was thrown across sea until herself shipwrecked. A native of Bangladesh lost foot to root in Bidesh, followed her mother full stop on forehead, trapped tongue of horn and grew ram-like under stress, 2011. Mixed media, 73 x 65 in. dia - meter.
Los Angeles: Nobuo Sekine - Blum & Poe
by John David O’Brien
Nobuo Sekine
A seminal figure in the Mono-ha movement, Nobuo Sekine is particularly associated with its emergence, which was marked by his large-scale earthwork Phase—Mother Earth (1968). For this work, he dug a cylindrical hole in the ground, approximately seven feet wide and nine feet deep; then he placed the excavated earth, made into a cylinder of roughly the same dimensions, next to it. This positive and negative juxtaposition stressed the thingness and relatively unaltered, raw materiality of both the hole and the mound. Like many Mono-ha works, Phase was also about space, its relationship to these “things,” and their combined relationship with the viewer. This show, which featured a decade of Sekine’s work, appeared at first glance to include contributions by a number of different artists...see the entire review in the print version of January/February's Sculpture magazine.
Installation view of “Nobuo Sekine,” 2014.
Atlanta: Scott Ingram - Museum of Contemporary Art of Georgia
by Joey Orr
Scott IngramScott Ingram’s “Blue Collar Modern­ism” included collage sketches, paintings, and sculptural installations that underscore his interest in modern architecture and functional building materials. Following the exhibition title, the work made a promise to explore aspects of Mod­ern­ism that are often conflated and at times contradictory—on the one hand, our economic, social, and cultural condition after the rise of industrialization and urbanization; and on the other, a set of aesthetic codes generally associated in the U.S. with Clement Greenberg, though conjured up here by Ingram’s wall-text references to Jackson Pollock and Abstract Expressionism, De Stijl, Alvar Aalto, Irving Gill, Mies van der Rohe, and Eero Saarinen...see the entire review in the print version of January/February's Sculpture magazine.

Scott Ingram, installation view of “Blue Collar Modernism,” 2014.
Acton, Massachusetts: “New Art Archaeology” - The Quarry
by Marty Carlock
Andy MoerleinJust beyond a new cookie-cutter housing development, the woods of semi-rural Acton, Massachusetts, open up into an astonishing sight: an assortment of contemporary sculptures made from wire, granite, and repurposed old machines. This is The Quarry, the creation of two Boston-area sculptors and headquarters for a grass-roots initiative called Contemporary Arts Inter­national (CAI). For the past four years, CAI has hosted a three-week symposium during which resident artists create granite sculptures on site, using huge surplus blocks from the disused quarry on the grounds...see the entire review in the print version of January/February's Sculpture magazine.
Andy Moerlein, Migration, 2014. Granite, 4.5 x 4.5 x 13 ft. From “New Art Archaeology.”
New York: Tunga - Luhring Augustine Gallery
by Bansie Vasvani
TungaTunga’s intention to generate astonishment and perplexity was more than fulfilled in his fifth exhibition at Luhring Augustine. Abounding with evocations of human shapes, forms, meanings, and connections, “La Voie Humide” created an arena for free-flowing associations. One Three (2014), which was placed in the foyer, set the tone for what was to follow. Esoteric and beguiling, a long-legged, turquoise-colored fragment of the female body hangs from one of Tunga’s signature tripods, held in place by thin leather strips fastened to metal hooks. Arranged at the top of the tripod, a shallow Petri-like dish, an earthen-colored pot, and a collection of beads complete the piece. But what does one make of it? Is it meant to recall a science experiment or an autopsy, or is it making a mockery of assemblage?...see the entire review in the print version of January/February's Sculpture magazine.

Tunga, One Three, 2014. Iron, steel, bronze, ceramics, leather, and linen, 210 x 100 x 190 cm.
Belfast: Graham Gingles, The MAC (Metropolitan Arts Centre)
by Brian McAvera
 Graham GinglesGraham Gingles, Ireland’s most accomplished sculptor, has been building boxes since the beginning of the ’70s, many of them somber meditations on the Troubles realized in an elliptical, covert, and highly personal manner. These works make no reference to the graphic imagery reproduced in the media on a daily basis, and so, too, with At times like these men were wishing they were all kinds of insects, a commission to commemorate World War I in which Gingles felt that he couldn’t compete with the overt horrors of the war itself. Paradoxically, this most private of artists took up the challenge of the public arena for this project, which was, in effect, a war memorial, and the scale of the enterprise meant that, like the hero in Gulliver’s Travels, he had to shift from a Lilli­putian box to a Brobdingnagian one....see the entire review in the print version of January/February's Sculpture magazine.

Graham Gingles, At times like these men were wishing they were all kinds of insects, 2014. Mixed media,
Zurich: “Lines” - Hauser & Wirth
by Rajesh Punj
Lygia Pape“Lines” featured a positively intellectual body of non-works that appeared to want to disappear from view. Beneath curved steel ribs rising up into the ceiling, the industrial-style space of Hauser & Wirth might have been completely empty were it not for the wafer-thin works and barely visible thread installations that resonated from its walls like the residual effects of a ghostly séance. These most slight of artworks pay homage to the original principles of European concretism (rejecting reality for a more concentrated interest in line and color) and the abstracted interests of non-concrete art. Curated by Rodrigo Moura, “Lines” included the work of eight international artists originally active in the 1950s, some of whom are still practicing today. Romanian Geta Bratescu, renowned for her destabilizing drawings and collaged textiles, was represented by Les Mains (1977), an 8-mm film showing her hands moving feverishly in front of the camera—as much tailored drawing as table-top performance...see the entire review in the print version of January/February's Sculpture magazine.

Lygia Pape, Ttéia 1B, 1976/ 2014. Thread, dimensions variable.

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