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December 2018
Vol. 37 No. 10

A publication of the
International Sculpture Center
North Adams, Massachusetts - Liz Glynn: MASS MoCA
by Christine Temin
Liz Glynn, Whittle (The 1%), 2017.
Mixed media, installation view."The Archaeology of Another Possible Future," the title of Liz Glynn's monumental show, is enigmatic only until you see the reality, which lays out her view of a pressing question: "What happens to stuff, and the people who make stuff, in the age of an increasingly virtual, dematerialized economy?" A lot of "stuff" has ended up in MASS MoCA's football- field-size gallery, including a purpose-built suspension bridge, which wiggles somewhat alarmingly as you walk over it in a physical expression of the uneasiness in the world today. Looking down on the separate installations in the space below, they, too, seem uneasy, defining a now based on physical things and hinting at a future that perhaps won't be. The Boston-born Glynn, now in her late 30s and the youngest artist ever to have the museum's signature space, was educated at Harvard and the California Institute of the Arts. Fascinated by the interaction of past and present, she's done works exploring the Medici and their banking system, Egyptian attitudes about death, and Gilded Age decadence...see the entire review in the print version of December's Sculpture magazine.

Liz Glynn, Whittle (The 1%), 2017. Mixed media, installation view.
New York - Sergio Camargo: Sean Kelly
by Cathryn Keller
Sergio Camargo, O Vento,
1954. Sergio Camargo (1930-90) was an important Brazilian sculptor whose simplified objects direct their attention toward, without adhering to, the Minimalist movement and other, closer Brazilian influences. He spent an extended period in Paris, from 1961 to 1973, and was influenced by Brancusi, who lived in Paris until his death in 1957. Camargo followed the same idealized simplicity, but he drew from Lygia Clark and HÉlio Oiticica, as well as from the Rio-based Modern - ist architect Oscar Niemeyer, with whom he frequently collaborated. This show, which featured roughly 40 works, most of them small and intimately scaled, was Camargo's first solo exhibition in the U.S. He lived and worked in a number of places--Rio de Janeiro, Buenos Aires, Massa (an early political center in Italy), and Paris--and his work reacts, in part, to the international art world. He developed a style resolute in its simplified elegance, but it was not a simplistic reading of what preceded him (as some have said of Minimalism's critique of modernity)...see the entire review in the print version of December's Sculpture magazine.

Sergio Camargo, O Vento, 1954.
New York: Donna Dennis - Lesley Heller Gallery
by Joyce Beckenstein
Donna Dennis, Ship and Dock/Nights
and Days or The Gazer, 2018.The muscular ore dock sitting in Lake Superior's frigid waters immediately caught Donna Dennis's eye with its play of sturdy grids framing vast space, its bold forms dominating daylight yielding to black night, and its aloneness. Ship and Dock/Nights and Days or The Gazer (2018), a jawdropping interpretation of a section of that dock, dominated her recent exhibition of the same name, paired with the elegant and fragile series of gouaches that inspired it. This latest iteration of Dennis's structural installations, like those before it, located poetry and metaphor within an architecture capable of bearing the weight of heavy loads. The transcendental effect of Ship and Dock/ Nights and Days owed much to Dennis's transformation of the viewer from a temporal observer positioned outside her small paintings into a protagonist within a scenario of manufactured structure and surrounding timeless seascape, where delicate mists conjoin sea and sky...see the entire review in the print version of December's Sculpture magazine.

Donna Dennis, Ship and Dock/Nights and Days or The Gazer, 2018.
New York: Hugh Hayden - White Columns and Lisson Gallery
by Jan Garden Castro
Hugh Hayden,
Hangers, 2018.Hugh Hayden's wooden sculptures-- skeletons and furnishings fused with branches--evoke many associations. His recent debut solo exhibition at White Columns, which followed showings at Frieze London and FIAC Paris (after a 2018 MFA from Columbia University, where he served as Rirkrit Tiravanija's teaching assistant), featured two large-scale works. In Hangers (2018), bones strung from two hangers on a rolling garment rack form the top and bottom of a human torso pierced by branches. The title, which acknowledges Hayden's African American roots, refers to the public lynchings perpetrated by the Ku Klux Klan and others. Brier Patch (2018) depicts six handmade, old-style school chairs with a thicket of branches growing out of them, conjuring the trickster that originated in Senegalese, Algon quin, and other tales before Joel Chandler Harris (1848-1908) included his version, Br'er Rabbit, in the Uncle Remus tales. Fleeing from a tar baby and a fox, Br'er Rabbit uses a briar patch as an escape route. Does education serve the same purpose?..see the entire review in the print version of December's Sculpture magazine.

Hugh Hayden, Hangers, 2018.
New York: "Songs for Sabotage" - New Museum
by Susan Canning
Haroon Gunn-Salie, Senzenina,
2018.The New Museum's fourth Triennial presented the work of 26 emerging artists, artist collectives, and groups from 19 countries. As in earlier iterations, this sparse, spaciously installed show, which filled the entire museum, had an agenda. Conceived by curators Gary Carrion- Murayari and Alex Gartenfeld as "songs," the featured works could all be viewed as calls to action or even as propaganda committed to unmasking or interfering with the political and social systems that construct our current reality. The most engaging pieces were those whose immediacy of presentation confronted viewers with the abuses of authoritarian power and strategies of dissent. The ongoing sway of apartheid and colonialism could not be overlooked in Haroon Gunn-Salie's (South Africa) collaborative mixed-media installation Senzenina. Full-scale resin casts of headless, crouching men alluded to the 34 strikers killed in 2012 by the police at the Lonmin platinum mine...see the entire review in the print version of December's Sculpture magazine.

Haroon Gunn-Salie, Senzenina, 2018.
Calgary, Alberta, Canada: Vanessa Brown - Esker Foundation
by John Gayer
Vanessa Brown, The Green -
house, 2018.Purple, pastel blues, greens, pinks, and iridescent white inhabit the works in Vanessa Brown's recent exhibition "The Witching Hour." Brown presents a synthesis of delicacy and brute strength, demonstrating a fine balance between feminist aesthetics and traditional sculpture. Her work exemplifies a feminized practice epitomized through steel, a material associated with industry, "male" sculpture, and warfare. "The Witching Hour" was at once a dreamscape, a jewelry store, and a wonderland of opulence and mystery. A boudoir scene greeted viewers on entering the gallery. An oversize clock frowned over the scene, winking away the time; two sheer kimonos made from mesh fabric hung from steel frames; and delicate earrings made of glass and steel, sized for a giant, dangled from a frame, while another pair rested on the floor...see the entire review in the print version of December's Sculpture magazine.

Vanessa Brown, The Green - house, 2018.
Toronto: Robert Fones - Art Museum at the University of Toronto
by John Gayer
"Signs | Forms | Narratives" presented a concise, meticulously organized, and wholly thought-provoking overview of Robert Fones's fivedecade- long career. Over the years, this determinedly inquisitive artist has investigated history, modes of communication, and the parameters of vision by producing works that span sculpture, photography, painting, installation, books, and design. In addition to being intellectually rigorous, much of his output is also visually elegant. The thematic, as opposed to chronological, organization of the exhibition not only illuminated the various phases of Fones's work, but also clarified various connections and related concerns, a strategy that greatly amplified the cumulative impact...see the entire review in the print version of December's Sculpture magazine.

Danh Vo, She was more like a beauty queen from a movie scene, 2009. Mixed media, 96.5 x 54.5 cm.
Saint Eteinne, France: Jean-Michel Othoniel - MusÉe d'art Moderne et Contemporain
by Rajesh Punj
Jean-Michel Othoniel, who credits Saint-Étienne's Museum of Modern and Contemporary Art as a source of his artistic vocation, helped to celebrate its 30th anniversary with an exhibition that was equal parts introduction to his work and personal homage to the artists who influenced his imagination as a boy, including Robert Morris, Tony Cragg, and many others whose works form part of the museum's collection. For Othoniel, the museum was and is a living space of enchantment. Time and again, he referred to the artists in the Saint-Étienne collection who affected his development in the years before he left for art college, in Paris, in the early '90s. His experience stemmed from the museum's then-radical idea of allowing artists to live and work on site for weeks and even months at a time, in exchange for a work of art...see the entire review in the print version of December's Sculpture magazine.

Danh Vo, She was more like a beauty queen from a movie scene, 2009. Mixed media, 96.5 x 54.5 cm.

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