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September 2016
Vol. 35 No. 6

A publication of the
International Sculpture Center
Tel Aviv: Elmgreen & Dragset - Tel Aviv Museum of Art
by Angela Levine
Michael Elmgreen and Ingar
Dragset, For as Long as it Lasts“Powerless Structures,” part of a series begun in 1997, was also the title of Michael Elmgreen and Ingar Dragset’s first exhibition in Israel and the third installment of “Bio - graphy,” a joint project with the Astrup Fearnley Museum of Modern Art in Oslo and the National Gallery of Denmark. Influenced by the writings of Michel Foucault, Elmgreen & Dragset view power as an everyday phenomenon, with the ability to change or evolve into something else. The “Powerless Structures” specifically critique accepted procedures and systems relating to public spaces and institutions. Prisons, social welfare offices, and airport lounges have all come under scrutiny. This time, it was the museum’s turn. To destabilize expectations, Elmgreen & Dragset dispensed with orderly, coherent presentation. The eight works in the show were scattered throughout the museum—one placed in a corridor, for instance, and another out in the garden. As a result, locating them turned into a kind of treasure hunt ...see the entire review in the print version of September's Sculpture magazine.

Michael Elmgreen and Ingar Dragset, For as Long as it Lasts, 2016. Wood, plywood, PVC, and concrete, 360 x 3300 cm.
Napa, California: Paul Kos - di Rosa
by Maria Porges
Paul Kos,
Condensation of Yellowstone Park
into 64 Square Feet Paul Kos’s career as a major figure of Bay Area Conceptualism began during an extended visit to di Rosa, back when it was still a fledgling vineyard and Rene di Rosa, its owner and founder, was beginning to accumulate what would become the world’s largest collection of Northern California art. In 1968, Kos—then 26 and still in graduate school at the San Francisco Art Institute—spent a good part of the summer grafting vines and building sculpture. The last piece he made there—a stack of salt blocks titled Lot’s Wife— marked a sea change in materials, intention, and content. It was deliberately ephemeral (the resident cows would later lick it into oblivion), used a natural material, and demonstrated an affinity for and engagement with the landscape itself...see the entire review in the print version of September's Sculpture magazine.

Paul Kos, Condensation of Yellowstone Park into 64 Square Feet, 1969/2016. Mud and sulfur, 96 x 96 in.
Washington, DC: Jeff Spaulding - Curator’s Office
by Elaine A. King
Jeff Spaulding, Twister Almost a decade ago, Curator’s Office led a conspicuous cultural shift by avoiding DC’s usual gallery locations of Georgetown and Dupont Circle and opening on 14th Street in Logan Circle. Faced with skyrocketing rents when the lease ran out in 2013, owner Andrea Pollan was forced to close her doors. This hurdle didn’t deter her, however, and today she remains an indomitable force for contemporary art in Washington and beyond, branching out to organize pop-up exhibitions at different venues, as was the case with Jeff Spaulding’s recent show, “Vintage Spaulding,” at the 703 Edgewood Street Studios in a developing Northe ast neighborhood. Spaulding, one of the original artists to keep a studio in this building, set up in 1986. Curator’s Office is now located there as well, and its space provided ample room for three large, freestanding sculptures and four wall pieces fabricated between 1980 and 1995...see the entire review in the print version of September's Sculpture magazine.

Jeff Spaulding, Twister, 1986. Asphalt on cedar, 64 x 65 x 38 in.
Miami: Nari Ward - Pérez Art Museum Miami
by Jan Garden Castro
Nari Ward, Sky Juice, 1993“Sun Splashed,” Nari Ward’s recent retrospective, employed penetrating humor and quotidian materials to recalibrate views about race, culture, and faith. The opening themes included immigration, social justice, the urban milieu, and citizenship. Amid the sounds of moving wheels accompanied by Blind Willie Johnson’s “Dark was the Night,” Land (2002–14), a rootless tree made of a small wheel wrapped onto a cylindrical metal base, evokes the migrant experience of mobility and change. Rock, Booked, Scissor, Vice (2010) repositions a reference book, Black’s Law Dictionary, in relation to the children’s game of rock-paper-scissors. Instead of going after each other, the rock, paper, and scissors, plus a metal vice, all “attack” the dictionary, suggesting that the law and its defin - itions are not equal for everyone. Happy Smilers: Duty Free Shopping (1996) opens with a bright yellow awning strung with dangling bottles of Tropical Fantasy soda. ...see the entire review in the print version of September's Sculpture magazine.

Nari Ward, Sky Juice, 1993. Umbrella, iron fence, cement, textiles, plastic soda bottles, photographs, Tropical Fantasy soda, and sugar, 106 x 72 x 95 in.
Boston: Laura Evans - Boston Sculptors Gallery
by Christine Temin
Laura Evans, installation view
of “The Aching Web,” 2016.Laura Evans is best known for her bronze versions of brown paper lunch bags—crinkles, folds, and all. Real lunch bags are meant to be disposable ephemera. Evans’s bronzes will last for the ages. They’re comical. Tucked in a bookcase indoors or sitting on the grass outside, they sometimes make people giggle. While still engaged with the lunch bags, Evans moved on to tree branches in her recent show, “The Aching Web.” These antic constructions had a presence even before you entered the gallery. One of them started on the floor of the large room, struggled to climb over a railing, and ended up on a shelf just below the big windows looking onto the street. It was easy for passersby to see, and perhaps some were lured inside. Through the door and up a short flight of stairs, a fuse box was temporarily adorned with a bundle of tiny twigs that could be read as an alternate form of power...see the entire review in the print version of September's Sculpture magazine.

Laura Evans, installation view of “The Aching Web,” 2016. Below: Pat Lay, Mythoi (detail), 1996. Fired clay and steel, 11.5 ft. high.
Newark, New Jersey: Pat Lay - Aljira, a Center for Contemporary Art
by Jonathan Goodman
Pat Lay,Mythoi (detail), 1996. Pat Lay, who retired not long ago from the MFA program that she founded at Montclair State Univer sity, recently mounted a major retrospective at Aljira, a prominent nonprofit space in downtown Newark. Curated by Lilly Wei, the show covered decades of work, from late-’60s clay pieces to works made as recently as 2015. There was a good mix of threedimensional and two-dimensional work, including archival prints whose exquisite symmetry is constructed from computer-parts imagery, but Lay has acknowledged that the true turn of her work is sculptural. The show included a fine array of threedimensional objects, ranging from a tile-work installation influenced by Noguchi to African-inspired totems, to gender-ambiguous cyborg heads, from whose crowns issue Medusalike wires with variously colored wrappings. Lay’s art is endlessly various, which indicates a curious cast of mind. She combines the very old with the very new in ways that push contemporary art forward, toward a statement that covers art history as well as contemporary sensibilities...see the entire review in the print version of September's Sculpture magazine.

Pat Lay, Mythoi (detail), 1996. Fired clay and steel, 11.5 ft. high.
New Paltz, New York: Andrew Lyght - Samuel Dorsky Museum of Art, State University of New York
by Renata Karlin
Andrew Lyght, Flight Kite/Linear
Dimensions, 1976. “Full Circle,” the recent retrospective of Guyana-born Andrew Lyght, featured five decades of sculptures, installations, drawings, paintings, and prints—categories that blur and overlap through his work. Lyght’s concerns are volume, surface, space, and light, as well as forms that can adapt to changing circumstances. His most recent wall works, for instance, are constructed from curved pieces of plywood, vellum, or paper, painted in solid fruity colors and pinned to underlying wooden crosspieces, an elegant and economical solution that allows the work to be freed from the plane. The surfaces are covered with freehand drawings inspired by archaic rock writings found in the interior of Guyana. These drawings— Lyght’s personal imprint—appear throughout his work, almost like a signature...see the entire review in the print version of September's Sculpture magazine.

Andrew Lyght, Flight Kite/Linear Dimensions, 1976. Air brush, acrylic mediums, and French inks on canvas, 84 in. diameter.
New York: Alina Szapocznikow - Andrea Rosen Gallery
by Kathleen Whitney
Alina Szapocznikow, Souvenir
I, 1971. Alina Szapocznikow was a supreme bricoleuse. She treated the odd assemblage of parts constituting the human body as her scrap box, junk heap, and obsession. During her brief life (1926–73), she used all aspects and conditions of the body as a resource, and she experienced most of them herself. A concentration camp survivor, a mother, a cancer victim, she mined spectacles of fatality and mortality for her subject matter. If this sounds grim, it isn’t—her work deals with abjection and suffering in a fondly ironic way—and even depictions of suffering and grief are witty and mordantly funny. Szapocznikow conceived of the body as a variable semantic assemblage, referring to it as “that complete erogenous zone.” The work blends beauty with nightmare, a strange combination expressed in objects that seem to insist on wholeness and joy even as the body falls apart. Her sculptures are sensual, seductive, and perverse, a vehicle for memory and a celebration of the ephemeral. ...see the entire review in the print version of September's Sculpture magazine.

Alina Szapocznikow, Souvenir I, 1971. Polyester resin, glass, wool, and photographs, 29.56 x 27.56 x 13 in.
Buenos Aires: Cristina Schiavi - Miranda Bosch Gallery
by Maria Carolina Baulo
Cristina Schiavi, installation
view of “Esta extraña forma mía
de aparecer” (This strange way of
mine of appearing), 2016 An important artist in the history of Argentine art, Cristina Schiavi is also a curator and manager of major projects, including Basilico, which she developed for international residencies. After several years without a solo exhibition, Schiavi recently reappeared with works that establish a dialogue between abstract geometric Modernism and the figuration that she says defines her. What stands out in her shows, however, are not recognizable human presences or clearly identifiable objects. Schiavi plays with structure, volume, color, and materials— in this case, MDF and acrylics—while installing her works in a larger spatial web of words and sketches. It sounds like a lot, but the space between the sculptures allowed for breathing room. Because Schiavi’s work is subtle and elegant, it holds the attention, and we can even say that it is aesthetically beautiful. But these formal considerations are sustained by a conceptual process, which leads to small, individual installations that, together, shape an entire exhibition. ...see the entire review in the print version of September's Sculpture magazine.

Cristina Schiavi, installation view of “Esta extraña forma mía de aparecer” (This strange way of mine of appearing), 2016.

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