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Sculpture cover


June 18
Vol. 37 No. 4

A publication of the
International Sculpture Center
Washington, DC: Frances Glessner Lee; Rick Araluce - Renwick Gallery, Smithsonian American Art Museum
by Elaine A. King
Rick Araluce, The Final Stop, 2017.The "mother of forensic science," Frances Glessner Lee (1878–1962) was a wealthy heiress from Chicago, who gave a large portion of her inheritance to Harvard University to create the first Department of Legal Medicine in the U.S. She was also the first female police captain in the country. In the early part of the 20th century, investigators had few opportunities to learn and train, which meant that they often overlooked or mishandled key evidence or irrevocably tampered with crime scenes. Nor did they have access to the sort of medical experience that would allow them to determine cause of death. Lee and her colleagues at Harvard worked to change this, developing a variety of tools to help trainees approach the search for truth scientifically...see the entire review in the print version of June's Sculpture magazine.

Rick Araluce, The Final Stop, 2017.
Hamilton, New Jersey: Joyce J. Scott - Grounds For Sculpture
by Jan Garden Castro
Joyce J. Scott, Day After Rape Series: Gathering Water, 2009."Joyce J. Scott: Harriet Tubman and Other Truths" featured 74 works that tell stories from African American and world history, including two imposing new outdoor sculptures, as well as early works and a selection of objects collected within an installation called Harriet's Closet. For Scott, "Tubman represents a part of me that I hope all Americans will never lose--building a road as you're walking on it." Pushing beadwork beyond a narrow categorization of ethnic craft or women's work, Scott uses it to spin narratives that expli - citly address race and gender, war and peace. Rodney King's Head Was Squashed Like a Watermelon (1991), for instance, boils down the notorious 1991 beating into a taut critique of stereotypes that dehumanize and incite violence. ...see the entire review in the print version of Mary's Sculpture magazine.

Joyce J. Scott, Day After Rape Series: Gathering Water, 2009.
Brooklyn, New York: Tony Moore - Sideshow Gallery
by Marty Carlock
Tony Moore, Children of Light III, 2017. The ceramic sculptures featured in Tony Moore's recent exhibition, "Children of Light," invoke themes of conflict, community, and survival. Alongside the work, Moore posted a warning from Dr. Martin Luther King: "Our generation will have to repent not only for the words and acts of the children of darkness but also for the fears and apathy of the children of light." The expressive monoliths in the "Children Of Light" series weigh up to 200 pounds and, ranged atop rusted steel pylons, approximate the height of a man. The chest-high crags and proto-ziggurats glower at visitors entering their lair. Streaked and pitted like ancient citadels, their precipitous sides bulge and cradle mysterious voids, revealing constantly changing personalities. Parched ridges thrust upward, glazes drip off ledges, and spills of molten green glass appear to enfold glittering oases set against an encroaching desert. ...see the entire review in the print version of June's Sculpture magazine.

Tony Moore, Children of Light III, 2017.
New York: Gerold Miller - Cassina Projects
by Jonathan Goodman
Exhibition view of Gerold Miller, 2017.The German sculptor Gerold Miller lives and works in Berlin. This show, his first in the U.S., offered an anthology of works for which he is well known in Europe. Ostensibly, these sculptures veer toward Mini - malism, but they are more deeply connected to theory than works from the American movement, even if this tie is downplayed and hard to uncover. Located somewhere between sculpture, painting, and architecture, the pieces can seem arbitrary and impersonal, even cold. But they are extremely effective, in large part because of Miller's interest in theory. His sculptures are about sculpture; and his paintinglike reliefs are about painting. This investigation into the fundamental elements of sculpture is similar to that of Josef Albers, another German who looked at art with exploratory detachment...see the entire review in the print version of June's Sculpture magazine.

Exhibition view of "Gerold Miller," 2017.
Tacoma, Washington: Albert Paley - Museum of Glass
by Matthew Kangas
Albert Paley in
collaboration with Martin Blank,
Split Relationship, 2012."Complementary Contrasts," a survey of Albert Paley's glass and steel sculptures since his initial residency at Pilchuck Glass School in 1998 (on view through September 3, 2018), brings together a body of work that bolsters his reputation as a maker of more than large-scale public art. The 29 works on show reveal a surprising intimacy of scale and delicacy of line and mass. Since it is impossible to do a similar survey of Paley's public art projects, located throughout the U.S. and in Mexico, this exhibition, which also features 14 monotypes, drawings, and prints, is an especially helpful contribution to understanding a prolific but maverick artist. Like Frank Stella in his later period--fitting into nothing familiar, following no one--Paley has created small-scale objects that parallel his huge constructions, such as the 24 sculptures installed on Park Avenue in New York (2015), but synthesize and extend some of the themes....see the entire review in the print version of June's Sculpture magazine.

Albert Paley in collaboration with Martin Blank, Split Relationship, 2012.
Milan: Lucio Fontana - Pirelli HangarBicocca
by Rajesh Punj
Fontana in collaboration with Nanda
Vigo, Ambiente spaziale: Utopie,
nella XIII Triennale di Milano, 1964/
2017."Ambienti/Environments," curator Vicente Todolí's ambitious reappraisal of Lucio Fontana's spatial installations and light interventions, focused attention on a little-known aspect of Italy's leading Modernist, successfully re-constructing nine of these works as life-size cabinets of curiosity. Though less familiar than the "Holes," "Cuts," or "Spatial Concepts," Fontana's installations marked a comparable break with traditional forms of sculpture and painting, foreshadowing later explorations by Gruppo Zero and Yves Klein. Fontana's environments surround us with art, inviting us to become integral to it. As co-curator Barbara Ferriani explains, the "Ambienti" are "immersive works that demand viewer participation, and a complete reconstruction is the only way to fully experience them." ...see the entire review in the print version of June's Sculpture magazine.

Lucio Fontana in collaboration with Nanda Vigo, Ambiente spaziale: "Utopie", nella XIII Triennale di Milano, 1964/ 2017.
Calgary, Alberta, Canada: "To talk to the worms and the stars" - The New Gallery
by Maeve Hanna
view of To talk to the worms and
the stars"To talk to the worms and the stars," a line from Arthur Evans's Witchcraft and the Gay Counterculture, recently found new life as a whimsical incantation and the title of a group exhibition. Each visitor repeated the words when entering the show on the night of the opening and throughout its duration, drawing a linguistically ceremonious line around the space and the featured works. Curator Natasha Chaykowski drew on the teachings of Hildegard von Bingen, a 12th-century nun, healer, herbalist, and cosmically inspired composer, who acted on mystical abilities that could not be defined within the existing framework of the Roman Catholic Church and sought to create space for practices and beliefs that fell outside Catholic dogma. Hildegard and her witchiness were equal parts complicit with and persecuted by the overarching patriarchy. In many ways, her project was similar to that of Arthur Evans, who sought to "creat[e] a genuine gay culture, one that is free from exploita - tion by bars, baths and Gay business owners."....see the entire review in the print version of June's Sculpture magazine.

Installation view of "To talk to the worms and the stars,"
Wasenaar, The Netherlands: Michael Johansson - Museum Voorlinden
by John Gayer

Johansson, Sista Sommaren (Last
Summer), 2014.A first look at Michael Johansson's work suggests that he might be quoting other contemporary artists a bit too literally. His well-ordered stacks of household objects variously recall Jackie Winsor's Post-Minimal cubes, Jannis Kounellis's niche-filling accumulations, and Tom Wessel - mann's Pop Art Interior (1964), a wall piece that fuses working domestic items and painting to create a hybrid and not-so-quiet vision of quietude. Johansson even includes an igloo: Is there any more obvious reference to Mario Merz? Despite the comparisons, Johans - son's unique engagement with paradox and wordplay sets him apart. Last Summer, his richly chromatic igloo, is built out of picnic coolers. Installed outside on the grass, it not only conjures nostalgic visions of summer outings, but also shines light on changing times. The word "igloo" was once associated first and foremost with the structure that insulated Arctic nomads from harsh winds and cold; but it also identifies the world's largest manufacturer of coolers, and today it is synonymous with a commercial product that guards food and drink against the effects of heat. ...see the entire review in the print version of June's Sculpture magazine.

Michael Johansson, Sista Sommaren (Last Summer), 2014.

New York: "Trigger: Gender as a Tool and a Weapon" - New Museum
by Sue Canning
Exhibition view of
The provocatively titled "Trigger: Gender as a Tool and a Weapon" took on the politics of gender and identity with works by 40 artists, groups, and collectives. Avoiding the trap of using sexual orientation as an organizing principle and throwing out heteronormative or binary definitions of gendered identity in favor of a more fluid, inclusive, and performative model--one that refused limits and boundaries--the show's organizer, Johanna Burton, with the assistance of Sara O'Keeffe and Natalie Bell, proposed a more activist curatorial model for how art about gender circulates in contemporary life. A number of artists intent on moving beyond simple stereotypes shared a strategy of posing and drag performance. On several occasions, Justin Vivian Bond posed in the New Museum's front window as Karen Graham, the sphinx-like face of Estée Lauder cosmetics from 1970 to 1985...see the entire review in the print version of June's Sculpture magazine.

Exhibition view of "Trigger" with (right), Simone Leigh, Cupboard VII, 2017

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