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Sculpture cover

June 2017
Vol. 36 No. 4

A publication of the
International Sculpture Center
Philidelphia: Ann Hamilton - Fabric Workshop and Museum
by Becky Huff Hunter
Ann Hamilton, (kaph • glove), 1997. In an interview published by Phila - delphia's FringeArts (2016), Ann Hamil ton described the dual impulses behind her four-decadelong practice and the multi-site exhibition she had recently mounted in the city: "Watching a raw material become a single thread, join other thread to become a warp or weft of a cloth or carpet, holds for me all the possibilities for making; sewing and writing are for me two parts of the same hand." Organized by the Fabric Workshop and Museum, Hamilton's sprawling text and textile project, habitus, consisted of a site-specific public installation on the abandoned Municipal Pier 9, which was part of the FringeArts live arts festival; an exhibition at FWM of her fabric works and artifacts related to the region's textile history; and an online collection of literary texts about the social meanings of cloth contributed by visitors at cloth-acommonplace. ...see the entire review in the print version of June's Sculpture magazine.

Ann Hamilton, (kaph • glove), 1997. Silk organza and thread, 33 gloves, 12 x 8.5 x 1.5 in. Below: Ann Hamilton and Susan Stewart, CHANNEL and MIRROR, 2016. Cloth and film reel, dimensions variable.
Washington, DC: Heather Theresa Clark - Hillyer Art Space
by Laura Roulet
Heather Theresa Clark, Maintenance,
2017. Heather Theresa Clark comes to artmaking from the unusual background of urban planning, green development, and ecology. Every component of her installation, Maintenance, was carefully engineered to critique "exurban" life as she experiences it in Northern Virginia, being, in her words, "embedded in a landscape that feeds on cultural neurosis." Clark posits that this neurosis derives from detaching labor from the basic survival needs of shelter, food, and clothing, instead basing exurban planning on consumer consumption. The gallery was arranged as an opposition between a domestic interior and a domesticated landscape. On the entrance side, hydrangeaprint wallpaper with a chair rail and wainscoting below represented petty bourgeois notions of decorating with a nature theme. A circular vortex, with matched flower patterning, cut into a wall projecting about 18 inches into the space. On the other side of the entrance, a wall-mounted monitor screened the video Exurban Roulette vol. 1. Filmed as Clark turns pages of a flipbook, the video dramatizes the plight of three Latina women trying to cross a multi-lane suburban roadway to get to work. ....see the entire review in the print version of June's Sculpture magazine.

Heather Theresa Clark, Maintenance, 2017. Bellows, concrete ball, railroad tracks, water fountain, and 4 live canaries
New Orleans: Christopher Saucedo - Good Children Gallery
by Dorothy Joiner
Christopher Saucedo, Self-portrait
in exact volume, as Water Bottle
Buoy (red stripe), 2016. "Out of my own great woe," wrote Heinrich Heine, "I make my little songs." Analogous to the German writer's transformation of "woe" into poetry, Christopher Saucedo turns natural disasters into prankish sculpture. In 2005, Hurricane Katrina flooded his home in New Orleans, leaving the living space covered with "exotic, colorful mold." In 2011, soon after he moved to New York, Hurricane Sandy flooded his house and studio in Rockaway Beach, Queens. These catastrophes nonetheless are but grist for Sau - cedo's comic mill. Distant echoes of Pop art and of Magritte inform his latest series, an entertaining spoof of "good" water-in ubiquitous plastic bottles-as opposed to "bad" water-inundations that destroy. Seeing a helicopter drop drinking water to people standing in filthy flood water during the aftermath of Katrina sparked Saucedo's focal image-oversize painted Styrofoam replicas of plastic water bottles, neither Fiji nor Perrier, but the generic Wal-Mart kind...see the entire review in the print version of June's Sculpture magazine.

Christopher Saucedo, Self-portrait in exact volume, as Water Bottle Buoy (red stripe), 2016. EPS, rope, and steel, water bottle 48 in. tall.
Brockton, Massachusetts: "New Sole of the Old Machine: Steampunk Brockton— Reimagining the City of Shoes" Fuller Craft Museum
by B. Amore
David Lang,
Step by Step, 2016.Steampunk can be described as a fantasy world at the intersection of Victorian history, science fiction, and advanced steam-powered technology. Fuller Craft Museum curator Beth McLaughlin and "Steampunk Guru"/artist Bruce Rosenbaum recently invited artists to be part of a "retro-future exhibition"—"New Sole of the Old Machine," which used the tenets of steampunk to reimagine the city of Brockton by fusing a modern sensibility with industrial antiques. Participating sculptors were interested in objects not only as artifacts, but also as signifiers of other realities, both past and future. Brockton, known as Shoe City, is still re-discovering itself after a trajectory that led from its heyday in 1897, with 100 shoe companies, to 2009, when the last remaining company, FootJoy, closed its doors. In the first installation-Rosen - baum's 14-foot-long, animated construction Shumachine-the inventor turns into his creation, his voice surprising visitors at unexpected intervals. ...see the entire review in the print version of June's Sculpture magazine.

David Lang, Step by Step, 2016. Mixed media, 32 x 13 x 18 in. From "New Sole."
Lincoln, Massachusetts: deCordova New England Biennial 2016 - deCordova Sculpture Park and Museum
by Marty Carlock
Putrih, Double Exchange, 2016.deCordova's 2016 New England Biennial left me struggling with the definition of "sculpture" as it's currently understood. The work of Heather Leigh McPherson is a case in point: it hangs on the wall, looking like a painting. But it's made of an acrylic puddle poured over chiffon dyed in sorbet colors, and encased in each acrylic sheet is a scribble pad crayoned with two-dimensional scrawls. One sheet of plastic even contains a cigarette lighter. Multi - media, video, wall-hung pieces, interactive readymades-this biennial had them all, but not much in the way of traditional sculpture. The only freestanding three-dimensional objects were Ashley Bryan's icons. His day job as a writer-illustrator of happy-story kids' books does not jibe with his scary rag-and-bone grotesqueries. Like them or not, they emit a primal power. Yet they are not new work; Bryan assembled them in his spare time over decades. ...see the entire review in the print version of June's Sculpture magazine.

Tobias Putrih, Double Exchange, 2016. Bricks, dimensions variable.
East Hamptom, New York: Carol Ross - Guild Hall
by Christopher Hart Chambers
Installation view of Carol Ross has an impressive exhibition history, dating from the mid- 1960s through the present. Her recent exhibition, titled simply "Carol Ross," featured works from the last 20 years or so, with 16 mid-size outdoor sculptures installed in the Guild Hall's Furman Sculpture Garden—the tallest reaching almost 13 feet, but most between five and seven feet tall—and seven indoor, wall-hanging pieces and several colored-pencil works on paper. Viewers notice the physical presence and formalist properties of Ross's freestanding works long before considering the materials involved in their making. Fashioned in stainless steel and mounted on elegantly basic pedestals, each sculpture is painted with a single color of automotive paint...see the entire review in the print version of June's Sculpture magazine.

Installation view of "Carol Ross," 2016.
New York: Ernesto Neto - Tanya Bonakdar Gallery
by Jonathan Goodman
Ernesto Neto, The
Serpent's energy gave birth to
human ity, 2016.Brazilian artist Ernest Neto has established himself as one of the leading sculptors of his generation. To create the works in "The Ser - pent's Energy Gave Birth To Human - ity," his remarkable recent exhibition, he collaborated with the Huni Kuin, an aboriginal community in the Brazilian Amazon. Neto works primarily with fabric installations, drawing from various traditions-Minimalism, Arte Povera, and Neoconcretism. In 2014, he began to work with the Huni Kuin, who are known for their spiritual insight, their desire to live in harmony with nature, and the centeredness they experience through a communal exchange with the earth. Neto's major woven installation in the show, as well as individual wall pieces and sculptures, all demonstrate his ongoing effort to engage with the earth in a manner that respects both nature and indigenous peoples. Leading up to the room-size installation, Life River Boa Being consisted of a slightly twisting piece of blue cotton stretched out on the floor...see the entire review in the print version of June's Sculpture magazine.

Ernesto Neto, The Serpent's energy gave birth to human ity, 2016.
New York: Ree Morton - Alexander and Bonin
by Sue Canning
Although Ree Morton started her career late and was active as an artist for less than a decade, her influence continues some 40 years after her death. Today, many artists present their work in constructed environments, but in the '70s, Mor - ton was among the first to disturb the white cube of the gallery, setting up installations that used walls, corners, and floors. At the same time, she moved away from making singular sculptural objects, using non-traditional and craft-based materials to explore the creative potential of process and the provisional. While celebrating the decorative impulse, these slyly understated, disarmingly charming works also revealed a potential for subversive critique. The seven sculptures, several drawings, and lithographic print on view in this exhibition provided an intimate look into Morton's work and creative process, as did a collection of documentary ephemera...see the entire review in the print version of June's Sculpture magazine.

Installation view of "Carol Ross," 2016.
DISPATCH - Beacon, New York: Robert Morris - Dia:Beacon
by Robert C. Morgan
views of Minimal Art evolved into prominence in the early 1960s. At the outset, the major sculptors included Donald Judd, Carl Andre, Sol LeWitt, Dan Flavin, and Robert Morris. I recall the term "epistemological Minimalism" associated with these five, coming from a critical essay by Robert Pincus-Witten. LeWitt soon made it clear that he was a "conceptual artist," as noted in his well-known series of propositions published in 1967. Similarly, Judd, who worked as a critic at the outset of his career, thought of his sculpture as "empiricist," not minimal—a refinement on his important 1965 essay, "Specific Objects." From the point of view of sculpture as a medium, however, some of the most accurate assessments of reductive form came through a series of essays by Robert Morris, the first of which, "Notes on Sculpture, Part I" (1966), gives priority to the presence of sculpture as something that occupies space from a temporal perspective...see the entire review in the print version of June's Sculpture magazine.

Installation views of "Robert Morris," 2016.

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