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May 2018
Vol. 37 No. 4

A publication of the
International Sculpture Center
Hamntramck, Michigan: Jason J. Ferguson– Public Pool Art Space
by Steve Panton


Jason J. Ferguson, installation view of “One-man (freak) show,” 2017.You go through a door, and you’re faced with the very same door. When you pass through that second door and turn into a room, you see what appears to be an anatomically perfect skull, but as you approach, you gradually realize that it is, in fact, horribly distorted. This is not a dimly remembered dream, but the initiation into “One-man (freak) show,” Jason J. Ferguson’s fascinating exhibition situated at the intersection of technology and the uncanny. A life-size replica of the artist’s skeleton occupied the center of the gallery, rotating slowly atop a suspended circular platform and lying on its side with knees drawn up ...see the entire review in the print version of May's Sculpture magazine.

Jason J. Ferguson, installation view of “One-man (freak) show,” 2017.
Los Angeles: Solange Pessoa- Blum & Poe
by Kay Whitney

Solange
Pessoa, Ão-Ão, 2017. Dictionaries define a fetish as a spirit attached to a material object; if nothing else, the oddly configured, misshapen, and obsessional pieces made by the Brazilian artist Solange Pessoa count as such. Her sculptures look as if they have a job to do in the service of divination or magic. The work is deeply suffused with metaphysics, mystery, loss, and sorrow. Pessoa combines the conceptual and philosophical with the quasianthropological, fabricating her own permutations of a “primitive” sublime. Engaging the machinery of primitivism, her work embraces myth and psyche, resurrecting the present to a now exotic, primal past. These extraordinarily romantic bonds that tie the ...see the entire review in the print version of Mary's Sculpture magazine.

Solange Pessoa, Ão-Ão, 2017.
Boston: Andy Zimmermann- Boston Sculptors Gallery
by Marty Carlock

Andy Zimmermann,
Rebar, 2017. The back gallery at Boston Sculptors is small, dim, and oddly shaped. But under the hand of Andy Zimmer - mann, it became vast and colorful— a panorama of construction and destruction, a maze of welded rebar, translucence, imagery, and mirrors that immersed viewers in the illusion of being in the midst of a work site. Rebar was the culmination of a decade’s worth of perambulations in Boston, Zimmermann visiting construction sites with Nikon DSLR in hand, sometimes challenged by suspicious foremen on the lookout for OSHA or immigration officials. Although a sculptor, Zimmermann displays a sophisticated eye for pictorial composition and texture, lingering on the contrasting strata of crumbling concrete ...see the entire review in the print version of May's Sculpture magazine.

Andy Zimmermann, Rebar, 2017.
New York: Ishmael Randall Weeks- Van Doren Waxter
by Jan Garden Castro
Ishmael
Randall Weeks, Untitled (Remnant),
2017.  Two vitrines transform paper and metal into abstractions evoking the origins of life. Striation 1 consists of sandblasted posters and wooden dowels; the tiny reticulations of blown-up paper seem totally non - objective, yet they also conjure everything from a microscopic enlarge - ment of a wound to a map of the world or a cosmic explosion. Untitled (Remnant) is similarly abstract, resembling metal lace, and eerily prescient. Ishmael Randall Weeks’s work relies on an amalgamation of archaeology and conceptual/minimal/ symbolist aesthetics. Born and based in Peru, he graduated from Bard College in 2000 and attended Skowhegan in 2007; he was a 2017 Rockefeller Foundation Bellagio fellow. The understated exhibition ...see the entire review in the print version of May's Sculpture magazine.

Ishmael Randall Weeks, Untitled (Remnant), 2017.
New York: Christopher Wilmarth- Betty Cuningham Gallery
by Jonathan Goodman
Christopher Wilmarth,
Sonoma Corners, 1971.Christopher Wilmarth died quite young—in 1987, at the age of 44. At the time, he was not a household name, but he was highly respected by critics, curators, and other art professionals. This small exhibition, consisting of four sculptures (three of them maquettes for larger works) and 11 drawings, called attention to his poetic gifts. Realized in black steel and etched glass, the three maquettes model a lyrical hybrid of sculpture and architecture, acting as windows and walls at the same time. Wilmarth’s work asks a lot; it is as if he wanted to transform his own and the viewer’s vision into something tragically dark, suggestive of a truth lurking just beyond consciousness. This somber approach creates a background of deep emotion...see the entire review in the print version of May's Sculpture magazine.

Christopher Wilmarth, Sonoma Corners, 1971.
San Antonio: Doerte Weber- Artpace
by Susan Oliver Heard

Doerte Weber, Check -
point, 2017.Doerte Weber grew up in a country divided by a wall. Born in West Germany, she attended university in Berlin (1979–83). To visit her boyfriend in West Germany on the weekends, however, she had to travel through East Germany. Each time Weber crossed the border, she was overcome with emotion as she confronted the formidable wall erected inside a single country, complete with barbed wire and armed guards. She has many stories of her fractured country, including the terror precipitated by a mundane episode of car trouble in East Germany. Since moving to South Texas, she has again experienced first-hand the problems born of division. In contrast to the Berlin Wall, the border fences she references in ...see the entire review in the print version of May's Sculpture magazine.

Doerte Weber, Check - point, 2017.
Rutland, Vermont: Elizabeth Michelman- Castleton Downtown Gallery
by B. Amore
Elizabeth Michelman, Pandora, 2017.Pandora, the first installation in Elizabeth Michelman’s recent exhibition, “Notes from Underground,” consists of things one might find forgotten in a basement, unearthed after the passage of years. An oversize steamer trunk made of dark gray-green metal provides an anchor. Propped up against it is a cello, its generous curves contrasting with the trunk’s linearity. A violin, set into an otherwise empty gold frame balanced on the trunk, echoes the cello’s form. The worn bow, horsehair strings in tatters, gives the feeling of having outplayed itself. Mysterious wire and mixed-media spirals spill through Pandora like coiled question marks, raising questions about the present, the transient past, and the empty frame of the future. The shapes of musical instruments found an echo in...see the entire review in the print version of May's Sculpture magazine.

Elizabeth Michelman, Pandora, 2017.
Charlottetown, Prince Edward Island, Canada: John Greer- Confederation Centre Art Gallery
by Ray Cronin

John Greer, installation view
of “Greer View Mirror,” 2017.Nova Scotia sculptor John Greer is primarily known for large works in stone and bronze, including several public commissions in Canada, Italy, South Korea, Switzerland, and the U.S. A major figure in Canadian sculpture for over four decades, he was recently the subject of a retrospective at the Art Gallery of Nova Scotia in Halifax. For the first few decades of his career, however, he was primarily a conceptual artist, using humor, ephemeral or humble materials, photography, and text to create wry, intelligent, and disconcerting objects and installations. His recent exhibition, “Greer View Mirror,” featured 20 works dating from the 1970s and ’80s, all demonstrating his conviction that sculpture— all art, really—is idea made manifest in material. Tied Up, Tied Down, the earliest work in the show, reflects Greer’s early concerns and, despite his ...see the entire review in the print version of May's Sculpture magazine.

John Greer, installation view of Greer View Mirror , 2017.

Dublin: Patricia Cronin- The LAB Gallery
by Sue Rainsford

Patricia Cronin, Shrine for
Girls (Dublin), 2015.Even the crudest structure or site can become a shrine. Once connected to an item or individual deemed sacred, it transfigures into a space conducive to contemplation and rituals of remembrance—activities that keep the enshrined, in some way, alive. Patricia Cronin subverts traditional notions of a shrine to memorialize something that is handled, globally, with systemic disdain and a chronic lack of care. The traumatized female body struggles for visibility across cultures and religions while its perils go largely undocumented, unaccounted for, simply unseen. Inter - rogative as well as commemorative, in its third iteration since the 2015 Venice Biennale, “Shrine for Girls” continued to counter this invisibility. Composed of fabric heaped atop industrial wooden crates, the three sculptures are substantially bigger than a human being ...see the entire review in the print version of May's Sculpture magazine.

Patricia Cronin, Shrine for Girls (Dublin), 2015.

London: “Age of Terror: Art since 9/11” - Imperial War Museum
by Susan Platt

James Bridle, Drone Shadow,
2017. Installation view. From “Age of
Terror.”, 2017In order to reach the Imperial War Museum’s landmark “Age of Terror” exhibition, you had to negotiate its astonishing atrium, complete with a suspended jet plane and rocket. Underfoot, James Bridle’s Drone Shadow lurked as a white outline on the floor. IWM has commissioned contemporary artists to go to war zones since its founding 100 years ago. Its collections include 20,000 works of art, in addition to thousands of war-related artifacts that combine a big-picture view with intimate personal stories. Contemporary art curator Sanna Moore assembled a provocative exhibition of post-9/11 works—the museum’s largest-ever contemporary art show—including a stunning low relief sculpture commissioned from Kurdish-Iraqi artist Walid Siti. The first section was devoted to the destruction of the Twin Towers and what followed on the ground. A long, narrow gallery featured frontpage headlines from around the ...see the entire review in the print version of May's Sculpture magazine.

James Bridle, Drone Shadow, 2017. Installation view from “Age of Terror.”

Queens, New York: Carolee Schneemann - MoMA PS1
by Joyce Beckenstein

Carolee Schneemann, Colorado
House, 1962.Carolee Schneemann, speaking at the press conference for her touring retrospective, recalled the days when the art world labeled her unabashed use of her body to disrupt misogynist attitudes toward women as “lewd” and “narcissistic.” The long overdue recognition represented by “Carolee Schneemann: Kinetic Painting” shifts the focus from her body to a body of work that goes beyond feminism to explore cultural taboos, human atrocities, and personal loss, ever reinvented through painting, sculpture, chore - ography, performance, installation art, film, and video. Schneemann describes herself as a painter, and “Kinetic Painting” signaled her unique interpretation of the genre. She regards painting as an “arena for action” in which the extension of the mind’s eye ...see the entire review in the print version of May's Sculpture magazine.

Carolee Schneemann, Colorado House, 1962.


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