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Sculpture cover


April 2018
Vol. 37 No. 3

A publication of the
International Sculpture Center
London: Rachel Whiteread- Tate Britain
by Ina Cole

Rachel Whiteread, Untitled (Pink Torso) 1995.Tate Britain removed interior walls for its recent Rachel Whiteread retrospective, creating an open 1,500- square-meter space—an unusual modification that allowed all of the sculptures to be viewed with a single sweep of the eyes. A mesmerizing quietude pervaded the space— individual pieces, sedate and pale, appeared to evaporate into their environment. The show spanned White - read’s output from the 1980s through the present, using a regimented manner of display to create an allencompassing effect. One had the sense of entering a vast mausoleum, with each sculpture a kind of echo of the world in which we live. Whiteread’s method is based on one overarching idea—casting the ...see the entire review in the print version of April's Sculpture magazine.

Rachel Whiteread, Untitled (Pink Torso) 1995.
Oakland, California: Allison Leigh Holt- Pro Arts Gallery
by Jane Ingram Allen

Allison Leigh Holt, Strange Loops, 2017. The title of Allison Leigh Holt's recent exhibition, "The Beginning Was The End," calls up images of endless loops, along with apocalyptic scenarios and intergalactic explosions. Oscar Kiss Maerth used the same words in the early '70s to title a controversial pseudo-scientific book in which he argued that humans evolved from apes that ate the brains of other apes and that we are now de-evolving because our brains are too big and this cannibalistic practice has made us insane. (Maerth's theory of human de-evolution gained notoriety from association with the rock band Devo.) Whether Holt subscribes to any of this or just finds it fascinating, I cannot say, but her new work is quite unusual and different from what you might expect, appealing on many levels-- technical, aesthetic, philosophical, and ....see the entire review in the print version of April's Sculpture magazine.

Allison Leigh Holt, Strange Loops, 2017. Jimmie Durham, Something... Perhaps a Fugue or an Elegy, 2005
San Francisco: Nayland Blake- 500 Capp Street Foundation
by Maria Porges

Nayland Blake, Workroom, 2017. Using only a few deceptively simplelooking elements, Workroom, Nay - land Blake's recent installation in the garage of David Ireland's former home, transformed a bare concrete cubicle into an imaginary performative environment. A little metal and leather and a temporary fabric wall punctuated with interesting openings succeeded, among other things, in recalling places and spaces largely erased from San Francisco-- first by the AIDS epidemic and, later, by relentless gentrification. Entering from the side door, visitors encountered three silvery leather pillows on the floor, each attached by a cable to a steel rail running the width of the room just in front of the back wall. A pinkish, purplish light cast by several strategically located bulbs--the only illumination-- appeared simultaneously festive and ominous, complicating any interpretation of the space and its function. ...see the entire review in the print version of April's Sculpture magazine.

Nayland Blake, Workroom, 2017.
Boston: Niho Kozuru- Miller Yezerski Gallery
by Christine Temin
Niho Kozuru, installation view of Niho Kozuru grew up in a clan of distinguished Japanese ceramists, led by her father, Gen. She tried clay, glass, and metal before settling on the material that has become her signature--cast rubber. Infused with bold hues, it's translucent and looks good enough to eat, like gummy bears. Based in Boston for most of her career, Kozuru has often used casts of architectural ornaments from old New England houses in her freestanding works, stacking them into towers with distinctive personalities and energy. In her recent shows, however, she has switched to cast rubber reliefs in varying thicknesses and brilliant colors set against white wooden panels...see the entire review in the print version of April's Sculpture magazine.

Niho Kozuru, installation view of "Positive Vibration," 2015.
Potomac, Maryland: Roni Horn- Glenstone
by Amanda Dalla Villa Adams
Roni Horn, Pink Tons, 2008–11."Roni Horn," a survey of work from the last four decades curated by the artist from the museum's permanent collection, featured photographs, sculptures, and drawings divided into eight rooms: the earliest work, Ant Farm, dates from 1974, but the majority of the works were produced from 2000 to 2015. Horn's work was ideal for Glenstone, a private museum outside Washington, DC; architecture, site, and art melded seamlessly together into a total experience that allowed for contemplation of complex ideas. Though Horn is often discussed in relationship to post-Minimalism and post-conceptualism, this exhibition could be enjoyed by a wide audience-- it was anything but purely cerebral. The works themselves (with the exception of the 36 headshots of a clown in Cabinet of [2001–02]) were inviting, particularly a series of large-scale "drawings," as Horn calls them...see the entire review in the print version of April's Sculpture magazine.

Roni Horn, Pink Tons, 2008–11.
Brooklyn, New York: Jen Durbin- ART 3 | SILAS VON MORISSE Gallery
by Jonathan Goodman

Jen Durbin, installation view of 90 Moves in Nine Seconds, (The Jackie Series 2001–2017)The title of Jen Durbin's 11-part installation 90 Moves in Nine Seconds (The Jackie Series 2001–2017) refers to the actions of Jackie Kennedy in the immediate moments after her husband, President John F. Kennedy, was shot in Houston. Durbin's immensely complicated, immensely ambitious project follows the movements of Jackie's pillbox hat, as captured in nine seconds of film, in a sequence of sculptures that rise as high as 30 feet. Made of castoff poles and other random pieces of wooden debris, the sculptures are improvisatory and informal without yielding to chaos. Their formal discipline derives from the highly detailed micro-history of their origins. They feel inexorably, quintessentially American-- embodying the classic mix of pop culture, violence, and melodramatic tragedy that has long characterized ...see the entire review in the print version of April's Sculpture magazine.

Jen Durbin, installation view of 90 Moves in Nine Seconds, (The Jackie Series 2001–2017)
Norfolk, Virignia: "The Art of Burning Man"- Hermitage Museum & Gardens
by Teresa Annas
Michael Garlington and Natalia Bertotti, Spire of Babel, 2017.Since the early 1990s, Burning Man has enticed crews of artists to craft increasingly large, complex, and extravagantly lighted sculptures during a yearly gathering in Nevada's Black Rock Desert. The event is not for wimps; everything gets coated in dust and is subject to windstorms and extreme temperatures. Still, artists are drawn to Burning Man by the freedom to go bold with scant censorship and by the atmosphere of radical self-expression and com - munal cooperation.
s by seven artists and artist teams, most from California and with a notable history at Burning Man, were installed last summer at the Hermitage, an emerging site for sculptural installations. Most of the pieces were large-scale, outdoor works, though smaller pieces were installed in the museum. The outdoor works, though removed from Burning Man's anything-goes desert vastness...see the entire review in the print version of April's Sculpture magazine.

Michael Garlington and Natalia Bertotti, Spire of Babel, " 2017.
Toronto: Ydessa Hendeles- The Power Plant Contemporary Art Gallery
by John Gayer

Ydessa Hendeles, From her wooden sleep, 2013.A palpable sense of unease pervaded Ydessa Hendeles's "The Milliner's Daughter," at least initially. The installations in this decade-long survey broke down into three dimly lit spaces populated by various mannequins and four brighter spaces featuring mechanical toys, panels of illustrated texts, and assorted supplementary images. Lingering in the galleries, that first impression of unease began to erode before reasserting itself. Not only did the heartening impact of the mech - anical toys wane dramatically, but deeper and darker associations also began to emerge. Drawing from assorted events and literary sources, as well as personal and family history, Hendeles combines diverse materials to create fables that call attention to treachery, power struggles, shifting values, forms of exclusion, and calamity. In ...see the entire review in the print version of April's Sculpture magazine.

Ydessa Hendeles, From her wooden sleep…, 2013.

New Windsor, New York: "David Smith: The White Sculptures"- Storm King Art Center
by Joan Pachner

David Smith, (left) Primo Piano I, 1962, (right) Primo Piano II, 1962.Did David Smith intend to leave eight large white sculptures white, the state in which they were seen at Bolton Landing, when he died suddenly in 1965? That question, which has periodically vexed art historians, drove an intriguing exhibition at Storm King Art Center, where six of the white-painted steel constructions were installed outside on the lawn, including the three Primo Piano sculptures on view together for the first time. These works were contextualized by an indoor display of related sculptures, paintings, photographs, and sprays, in addition to a newly digitized 16 mm film by the sculptor Robert Murray that documents many of Smith's works in the fields surrounding his home and studio after his death. The carefully calibrated installation raised more questions than it could answer. ...see the entire review in the print version of April's Sculpture magazine.

David Smith, (left) Primo Piano I, 1962, (right) Primo Piano II, 1962.

Rome: Alfredo Pirri - MACRO (Museo d'Arte Contemporanea
by Laura Tansini

Alfredo Pirri, Alfredo Pirri’s recent exhibition, “i pesci non portano fucili” (“Fish Don’t Carry Guns”), was curated by Benedetta Carpi De Resmini and Ludovico Pratesi. The show was the final stage of a project with the same name initiated in November 2016 with an exhibition (“RWD— FWD”) at Pirri’s studio/archive. Pirri chose the title as a tribute to Philip K. Dick’s The Divine Invasion (1981), which imagines an unarmed society, fluid like the open sea, where one can be immersed and re-emerge, giving shape to multiform events. Pirri’s twist is to propose a new model of cultural networking in which participating institutions are autonomous but in constant dialogue. “i pesci non portano fucili” brought together 50 of Pirri’s most important works from the 1980s to the present, emphasizing his rhythmic alternation between fluidity and firmness, where rapid changes of technique become an allegory of mental shifts. Over the years, Pirri has experimented with everything from painting and sculpture to video and perfor mance, but regardless of medium, space, color, and light have remained constant themes—all serve his conception of the spacetime relationship, mediated by the process that leads to the artwork. ...see the entire review in the print version of December's Sculpture magazine.

Alfredo Pirri, "i pesci non portano fucili", 2017

New Delhi: Ranjani Shettar - Talwar Gallery
by Chitra Balasubramaniam

Chitra Balasubramaniam, Honeysuckle and mercury in a thick midnight plot, 2016If there is one word that describes Ranjani Shettar’s installations and sculptures, it is “happy.” There is something bubbly, fun, and enthusiastic about her work, and it is infectious. Shettar herself laughingly says, “Someone remarked quite early in my working days as to why my works looked happy and not otherwise.” This happiness, however, does not interfere with the work’s ability to provoke thought. The narrative of her recent show, “Bubble trap and a double bow,” concerned nature. Nature surrounds us; it is omnipresent, but never seen or understood, simply taken for granted. Shettar says, “Nature is really very smart. The way it works around the strength of the tree is amazing. Take the case of a tree which bears little seeds. Usually the seeds fall at the feet of the tree to germinate, while those which produce seeds in abundance scatter them in all directions. This little play in preservation inspires me in my works. Open wings of a precious secret takes off from this.” ...see the entire review in the print version of December's Sculpture magazine.

Chitra Balasubramaniam, Honeysuckle and mercury in a thick midnight plot, 2016

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