Professional Documents
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Sculpture 2010 03
Sculpture 2010 03
sculpture
March 2010
Vol. 29 No. 2
A publication of the
International Sculpture Center
www.sculpture.org
Antony Gormley
Mel Chin
Saya Woolfalk
sculpture
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Drawing Earth, detail, 2009, Abaca, wire, pigment, aluminum, 120" x 120" x 96"
sculpture
EVE INGALLS
Drawing Earth
March 2 March 27, 2010
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Lifetime Achievement
in Contemporary
Sculpture Recipients
Magdalena Abakanowicz
Fletcher Benton
Louise Bourgeois
Anthony Caro
Elizabeth Catlett
John Chamberlain
Eduardo Chillida
Christo & Jeanne-Claude
Mark di Suvero
Richard Hunt
William King
Manuel Neri
Claes Oldenburg & Coosje van Bruggen
Nam June Paik
Arnaldo Pomodoro
Gio Pomodoro
Robert Rauschenberg
George Rickey
George Segal
Kenneth Snelson
sculpture
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Sculpture 29.2
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sculpture
March 2010
Vol. 29 No. 2
A publication of the
International Sculpture Center
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Departments
Features
14 Itinerary
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Working By Any Means Necessary: A Conversation with Mel Chin by Jeffry Cudlin
22 Commissions
24 Up and Coming in London by Ana Finel Honigman
80 ISC News
Reviews
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Berkeley: Human/Nature
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Doubt and Other Serious Matters: A Conversation with Daphne Wright by Robert Preece
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MadArt
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humidifiers, toughened low iron glass, and aluminum, 320 x 978.5 x 856.5 cm. Installation
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isc
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GONZALEZ-FOERSTER: CATHY CARVER, COURTESY DIA ART FOUNDATION, NY / ZHANG: COURTESY GOVETT-BREWSTER GALLERY / FISCHER: COURTESY THE ARTIST AND MARY GOLDMAN GALLERY, LOS ANGELES
itinerary
Sculpture 29.2
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WODICZKO: KRZYSZTOF WODICZKO, COURTESY GALERIE LELONG, NY / TURRELL: FLORIAN HOLZHERR, 2009, JAMES TURRELL / SEELIG: JACK RAMSDALE
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LTHI: COURTESY THE ARTIST / BRUGUERA: COURTESY NEUBERGER MUSEUM OF ART / ELIASSON: IAN REEVES PHOTOGRAPHY, 2007 OLAFUR ELIASSON, COURTESY SAN FRANCISCO MUSEUM OF MODERN ART / MUECK: RON MUECK, COURTESY ANTHONY DOFFAY, LONDON
itinerary
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CAI: COURTESY FABRIC WORKSHOP AND MUSEUM, PHILADELPHIA / NAUMAN: MICHELE LAMANNA, COURTESY PHILADELPHIA MUSEUM OF ART, 2009 BRUCE NAUMAN, ARTISTS RIGHTS SOCIETY (ARS), NY / KAPOOR: MATHIAS SCHORMANN, THE SOLOMON R. GUGGENHEIM FOUNDATION, NY
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RAKOWITZ: COURTESY THE ARTIST AND LOMBARD-FREID PROJECTS, NY / GONZALEZ-TORRES: THORSTEN MONSCHEIN, THE FELIX GONZALEZ-TORRES FOUNDATION, COURTESY ANDREA ROSEN GALLERY, NY / GUGGENHEIM: DAVID M. HEALD, SRGF, NY
itinerary
Top left: Michael Rakowitz, Victory Arch (Strike the Empire Back Series). Left:
Felix Gonzalez-Torres, Untitled (Golden). Above: Solomon R. Guggenheim
Museum, site of Tino Sehgals live-action sculptural performance.
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commissions
Left, top and bottom: Catherine Widgery, Tidal Song, 2009. Mouth-blown
stained glass, etched float glass, lighting, speakers, and motion sensors, 12 x
120 x 14 ft. Above, top and details: Tony Stallard, Ghost Train, 2009. Steel,
cross-fading LEDs, lighting, landscaping, and plantings, 500 square meters.
Tony Stallard
Ghost Train
Watford Junction, U.K.
Located at the core of a busy interchange, Tony Stallards Ghost
Train is a site-specific light sculpture and contemporary landmark commemorat[ing] [Robert] Stephenson. The work, commissioned by the Watford Borough Council after local residents
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Catherine Widgery
Tidal Song
New Rochelle, NY
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Spencer Finch
The River That Flows Both Ways
New York
The first section of the High Line (from Gansevoort Street through
20th Street), Manhattans newest public park, opened in June 2009.
Originally built in the 1930s and used until 1980 as an elevated
freight train platform through the West Side, the re-purposed train
bed now offers visitors a new perspective on the city. Like the park
itself, the High Lines first public artwork, Spencer Finchs The
River That Flows Both Ways, reinforces historical connections
while raising awareness of often-overlooked surroundings. The title
is a translation of Muhheakantuk, the Lenape name for the river
(it flows both ways because of tidal influences). Sited in a semi-
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Top and details: Spencer Finch, The River That Flows Both Ways, 2009. Glass and
colored film, 15 x 134 ft.
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TOP: NEW EXPOSURE/TIM SMYTH / BOTTOM: NEW EXPOSURE/TOM SAUNDERSON / BOTH: HANNAH BARRY GALLERY, LONDON
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LEFT: NEW EXPOSURE/TIM SMYTH, HANNAH BARRY GALLERY, LONDON / RIGHT, TOP AND BOTTOM: COURTESY SUBWAY GALLERY, LONDON
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A Conversation with
Antony Gormley
BY KARLYN DE JONGH
Antony Gormley understands the human body as a place of memory and transformation. Most of his early works are based on the
process of casting his own body, which functions as subject, tool,
and material. His more recent works deal with the body in
abstracted or indirect ways and are concerned with the human
condition. These large-scale works explore the collective body and
the relationship between self and other, mediating between individual and collective, containment and extension, what can be
seen and what can be sensed. Making unexpected connections
across ideas and disciplines, these works have moved the domain
of figural sculpture beyond the confines of the physical body to
include interaction with the surrounding world, whether that be
the matrix of community, space and energy, memory, or built
form. Gormleys objects and installations test the limits and syntax
of sculptural expression, calling for ever greater participation and
engagement in the service of human freedoma goal that
he took to new heights in One & Other, on Londons Fourth Plinth.
Sean Kelly Gallery in New York is hosting a solo show of Gormleys
work (March 26May 1) to coincide with the installation of Event
Horizon in and around Madison Square Park, March 26August 15.
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AG: Theres a very early work that I will never sell, called Seeing and Believing
(1988). Its a pregnant male body, a body without breasts. Theres a hole at the
navel. You could say that this work deals with the notion of indwellingthat
is, the idea that the body is itself the first form of architecture, the first shelter,
and that all bodies come out of other bodies, it is the material condition from
which we look out or reach out through our perceptual bridges to the wider
world, a receptive state.
KDJ: How does your abstract notion of the body relate to physicality?
AG: You need the physicality of your own body to see it, thats the point. We
could think that the work is about making singular objects, like the piece that
Im making for Lelystad, the Netherlands. But increasingly, the work is becoming a field phenomenon. It dissolves from a body defined by skin and mass into
a field. Or it dissolves simply through the multiplication of elements. In both,
you have to look around. If you look at this bubble matrix cloudyou have to
really look around it. You need to use your own existence as the necessary register. The body that really counts is the body that has the mind in it. In the end,
the viewer does the workand it may be more than Duchamps 50 percent.
KDJ: You have described your work with the concept of space, and you just
mentioned the body as a first form of architecture. What do these concepts
mean? How would you explain space and architecture in relation to body?
AG: This is such a big question. Take, for instance, the Newton/Leibniz debate
about space as the container of all things, an almost God-like conditionality.
Leibniz suggests that this space is not a basis, but simply the relation between
objects. We dont need to think about the ultimate conditionality, but infinity
is the thing that gives sculpture its authority. The position of an object or
group of objects has a relation not only with all other objects, terrestrial and
celestial, but with everything that lies beyond the perceptual horizon.
I think the biggest challenge that Ive faced for the whole of my working
practice is how you reconcile imaginative space grounded in the body with
space at large. In very simple, early works, like Full Bowl (197778), theres a
void in the core. You get a sense of indeterminacy with the edge of this mass
of bowls that could go on forever. It suggests that theres a relationship
between an intimate and an extending void.
The same is true of the relationship between the space that we enter when
we close our eyes and space at large. If I close my eyes when I am awake and
ask the question, Where am I now? I am somewhere, but the world as a
visual object is not here. The space of consciousness is contained in a physical
space, and these two spaces somehow have to be reconciled. The latest
attempt that Ive made to reconcile them is Blind Light (2007), where you get
the same sensation but within light. If you went outside in the garden and
closed your eyes in the middle of a starless night, you would be in a darkness
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dren will use. Every room in my studio has a computer. Were inventing in software that
allows me to use digital technology at its most advanced. Even though its taken us four
years, the work that Im making for Holland represents the very forefront of whats possible
in engineering terms. In all of these ways, I am absolutely of my time.
KDJ: How is the question of the bodys belonging related to the locations where you present your work? How important is location and the history of a location for you?
AG: I try to start with the place. A body comes into it even if the body isnt figured. Take,
for instance, Another Place (1997), the 100 figures on the beach. Its interesting that even
though this work has now found a permanent site on the banks of the Mersey outside
Liverpool, it absolutely came out of the Wattenmeer. I wouldnt have made it without that
extraordinary place: the mouth of the River Elbe where the tide comes in over seven kilometers. The quality of light and the way that the sky is reflected in the earth convey a feeling of being at the edge and, at the same time, of being in the now. It is not sublime and
romantic in the traditional sense because big container ships continually cross the horizon,
the same as at Crosby Beach.
Im always juggling the moving place of embodiment and a particular place. There may
be anxiety about the displacement of art from the structures of higher values. Some consider it a loss, but I think of it as freedom. We no longer need the frames, the plinth, the
institution. Isnt that the most wonderful thing, to make something that can simply be?
Whether it stands or lies or sits or falls, its just a thing that exists and endures in space
and time, in darkness and in light, in rain and in shine: a thing in the world, really in the
world. It needs no excuse; it needs no mediation; it needs no protection. For me, to be
given a place is an amazing thing. If somebody says, Here is a room, here is a field, here is
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Above: European Field, 1993. Terra cotta, 40,000 elements, 826 cm. high each. Below: Another Place,
1997. Cast iron, 100 elements, 189 x 53 x 29 cm. each.
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palpable, the perceivable, and the imaginable. We are positioning the sculptures as close
to the edge of the buildings as possible. The work will enter into and out of visibility, and
that is the point. The field of the installation should have no defined edges, and the ambition is to play with the very particular topology of Manhattan, making people more visually
aware of their own environment, and indeed the edge of it, above their heads. What matters is the way in which the sculptures infect the collective space of the city. The works
subject is New York, its inhabitants, and how their perception of their environment
changes as a result of these foreign bodies. Its about the searching gaze, the idea of looking and seeking, and in the process, re-assessing your own position in the world. The occupants of the buildings around Madison Square will be aware of these liminal positions as
they look from their windows.
KDJ: Event Horizon has already appeared in London and in Rotterdam. How do different
locations affect the work?
AG: It treats both the context and the body as a test site, interrogating the unconsidered
nature of collective space. In every installation of Event Horizon, the nature of that space
is different, and the subjective reaction of the inhabitants of that infection is different.
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ANTONY GORMLEY
sculpture
By being a vertical animal, with the cerebral cortex as the highest point in the body, the
human being has separated itself from most of the biosphere. That verticality is very much
part of this work. Its still asking the same question: Where does the human body belong,
now that we have separated ourselves in terms of specification from those other, more
enmeshed, animals? This pertains to our eco-niche as much as it does to our body-type.
The human body is now detached and in some senses might belong more to space than to
the earth.
KDJ: You have described the body as a place of memory and transformation. In One &
Other, the transformation of the body seems literalthe body changes every hour. Or do
you understand transformation in a different way?
AG: This was an exercise in self-representation, as well as in interrogating the status of the
statue. Art is being replaced by life. But it also has to endure, in time and in the elements,
so it was very important that it be a completely uninterrupted occupation of the plinth for
the 100 days. The idea of this was a slow frame change that nevertheless maintained a
continuity. We started with the individual person and ended up with some idea of the collective body. Every person who contributed to the time-line of representations changed it.
KDJ: How do you see this living sculpture in reference to your other work?
AG: All of my work demands a certain kind of projection. You could ask: How do we project
our lives into the silence and stasis of sculpture? How do we use it as a focus for the things
that we have and it lacks (freedom of movement, thought, and feeling)? In a sense thats
exactly what One & Other becamean isolated and idealized space of public sculpture
becoming the place of personal projection.
KDJ: Is your love for edge locations related to their circumstances, natural or otherwise?
AG: A space outside is at the top of my list of sites. To allow an object to be without shelter, to make something that shares the condition of a tree or a mountain, is a great inspiration. The condition of a museum takes the object out of its context, out of where its working, where it has a life, and puts it where it can be read. And the function of the museum
is to catalogue and conserve objects that have ceased to have a life. If the museum, and
the ability of objects to be categorized and read, becomes the matrix by which things are
given value, we have lost our faith in the potential of art to affect life and in the idea that
human beings can have some part in evolution.
This is what worries me about the human project at the moment. We are so involved in
our ability to turn the object into a symbol that we no longer live directly. The power of art
to break through the symbolic order, the inexorable process of things becoming words, is
its most critical function. I believe that dumb objects can catalyze our lives and allow us to
sense existence more intensely.
KDJ: Does your work confront an awareness of being, of existing?
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Working By Any
Means Necessary
A Conversation with
Mel Chin
Wall of Fundreds designed in New Orleans and installed at Safehouse in the citys St. Roch neighborhood, 2006ongoing. Part of Operation Paydirt.
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Mel Chin refuses to be pinned down, hemmed in, or otherwise restricted from pursuing whatever concept
fires his imaginationin whatever medium seems appropriate. The Houston-born artist began his career
making sculptures based on research into ancient cultures, social issues, and geopolitical subterfuges. But
after a 1989 solo show at the Hirshhorn Museum and Sculpture Garden in Washington, DC, he appeared to
jump track, abandoning object-making for the less familiar territory of conceptual art based on botany, ecology,
and hands-on collaboration with scientists and government officials. In his redefining project Revival Field
(1993), he attempted to reclaim 60 square feet of toxic soil in a St. Paul, Minnesota, landfill. To do this, Chin
and his collaborator, Rufus Chaney, relied on plants called hyper-accumulators, which can draw heavy metals
like zinc and cadmium out of the earth through their root systems. Though Chin has subsequently been
tagged as an environmental artist, he has followed many divergent paths, also working in recent years with
comic books, animated films, and even commercial television.
He is currently working on a new environmental reclamation effort. The Fundred Dollar Bill Project/Operation
Paydirt consists of equal parts conceptual art gesture, school lesson plan, and exercise in magical thinking.
Chin is asking children across the country to draw fake $100 billsFundredsand submit them to volunteerled collection sites in public schools. Once three million of these Fundreds have been generated, an armored
car equipped to run on recycled vegetable oil will visit each collection point, pick up the childrens artwork,
and eventually deliver all three million Fundreds to Congress. The goal is to make a one-to-one exchange
with legislators, securing 300 million actual U.S. dollars to clean lead-contaminated soil in New Orleans
following a protocol developed with Howard Mielke of the Tulane/Xavier Center for Biomedical Research.
Through the project, Chin hopes to highlight problems with lead poisoning that have plagued New Orleanss
poorest neighborhoods since well before Hurricane Katrina.
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BY JEFFRY CUDLIN
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Jeffry Cudlin: It seems that throughout your career, youve been in the process of putting
down one medium and picking up another one. Ive heard you say that you initially
envisioned yourself becoming a heroic painter or sculptor, but that you found yourself
falling in love with pottery, much to your surprise. What drew you to clay, and how did
that formative experience lead you to the present day, when youre dependent on no
particular medium?
Mel Chin: Nothing drew me into pottery; it was a mandatory, one-semester class. I
begrudgingly resigned myself to leaving the super-status of eventually becoming a
great artist and just having to deal with this material. It was a pretty amazing lesson,
because the moment you say no to something can be the moment when the world
completely reverses on you. With ceramics, when you really get into it, you become
a psycho-ceramicista crackpot. But what the medium gave me, I definitely needed.
First of all, I realized that it was something that I could not do, and that was humbling.
Second, the instructor was able to convey meaning almost in a Zen way through the
various processes.
You might not think of ceramics and conceptual art together, but pottery really did
open up a whole investigation of conceptual art for me. I learned it early on by studying
Zen, and also Suzuki, and then finding some writers discussing Duchamp, and making
my way to conceptual art from there. Once that all opened up, I realized that its not
the old no problem, no solution situation. Art, for me, is not about the medium. It
really all comes down to the message. And the message must be communicated by my
patented Malcolm-Quattro-X method: not just by any means, but also by any
method, any action, or any material necessary. Im not dropping or abandoning one
medium in favor of another; Im always striving to find the right material for capturing
the specific weirdness of the present moment.
JC: Youve often cited your Hirshhorn show as a turning point, a catalyst that radically
changed the kind of art you make. You realized that while you dearly loved making
marvelous objects, you needed to let go of them. How did you reach that decision?
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MC: I didnt decide. I just heard a voice calling in my head and started walking that
way. The voice led me to the process of
thinking that brought me to Revival Field, a
project about science, botany, and reclamation. There is a misunderstanding here,
though. If were still working in the world
of ideas, concepts can lead you around to
making a painting or a sculpture againor
a performance, or a photograph, or a film.
The field has only expanded for me, it doesnt limit the type of work I can do at all.
JC: A lot of your earlier work was researchbased, making cultural or art-historical references that went back thousands of years,
to ancient Greece, to China. Now your work
is engaged with at-risk communities, up-tothe minute political developments, and
electronic media. It seems like your timeline gets shorter and more immediate with
each passing year. What brought you so
fully into the present tense?
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MC: I dont know that my work has changed in exactly that way. Recently I contributed
a study to Creative Times 33rd anniversary. They asked me to write an article on power.
My contribution, because I didnt really want to write an article, turned out to be a
drawing, a meditation on the beginning of time, from the Big Bang to the true vacuum
meta-stability disaster 100 trillion years from now. I was studying the end of all time,
where the gradient to sustain information is eradicated.
So, with that one piece, focusing on a point trillions of years after the entire human
race has been annihilated, I blew your premise out of the water, right? Life delivers things
at various focal lengths. You zoom in, you pull out again. I dont think that theres a
specific preference or intention: its whatever the present moment seems to call for in
terms of perspective. Any distance from the subject can eventually lead you to thinking
about the whole of human historyeternity, even.
JC: Your way of working has to do with freedom, working, as you say, by any means necessary. Does that scare off people who could be in your cornerdealers, gallerists, collectors,
institutions? Do you have to rethink who you can bring into your corner to advocate for you?
MC: Yeah, my corner mans not very good. Ive been beaten up enough to know that. But
Im not beaten down by whatever distance I might seem to be imposing between my work
and the art market. If you start expanding your worldview, immediately you exceed the art
world, the galleries and institutions, and the whole spectrum of possibilities of engagement gets larger. Even though a piece can be very discreet, it can also be very expansive.
I think its understood: with every liberation comes an entrapment. The creative process
is sometimes based on breaking out of jail. You have to escape the prison that youve
just created for yourself. You cant make bail just through the support of dealers or galleries or museums. Sometimes theres a wall between different pieces, different phases.
You have to find a way to escape the conditions that youve created. Its all my own fault,
of course. I cant blame anybody else.
JC: Youre in North Carolina now, having removed yourself from New York and L.A.
MC: Working on different projects in different placesand needing physical space to
create larger-scale piecesthats where it started. After working with prime-time TV
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the thick of it. Sure, maybe Im addressing the need for a state of mind where invention can occur. Right now, North Carolina is a place where I can find that state of mind,
but one day that might no longer be the case.
JC: Modern art often looks like a series of refusalsrefusal of heroic mastery, refusal of
the seductive properties of a medium, even the refusal to lay things out easily for an
audience, insisting on a kind of confrontation instead. While your move from objectmaker to conceptual artist seems like a kind of refusal of a particular way of working,
its ultimately made your work more populist, more open, maybe more accessible.
MC: I dont think my work ever says no. It says maybe. Probably yes, probably no, there
has to be some wiggle room. Once something becomes dogmatic, its no longer interesting. Once you arrive at a formula, its no longer useful.
As far as the notion of refusing, I understand Modernism as stemming from a deep
belief in universal possibilities that were unrealized in the world and needed to be uncovered somehow. We know where thats led us. We cant just think about art anymore.
We have to be engaged in the political world. Or at least I doI shouldnt say that for
anyone else except myself.
JC: While your work seems approachable, humorous, and maybe even skeptical of trying
to remake the way people live, it still aims for major transformations. In the case of the
Fundred/Paydirt project, were talking about $300 million possibly entering peoples lives.
How do you balance humor and skepticism with such ambitious expectations?
MC: First off, the humor is there only because without it, life would be such a depressing
reality that it would be difficult to stay and keep going. Second, my work has never been
about anything but changing oneself. If you approach everything with a critical eye
or mind, then the world will reveal itself as something thats quite impossible to change.
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am I trying to work in this place? For me, the conditions in New Orleans compelled this
project, spurred the problem-solving part of my brain, got me motivated. If I want to
identify whats in it for me, whats selfish, maybe at the end of the day, its the need to
take on the puzzle. This is a real problem, and I feel compelled to get to work and solve it.
JC: Are there moments in New Orleans when the immensity of what youre up against
overwhelms you? Now that youve been interacting with the St. Roch neighborhood
and know its rhythms, do the place, its poverty, and its violence continue to shock you?
MC: Well, youre more comfortable with the people, youre familiar with the landscape,
but a lot of the things that people warned me about in New Orleanshow slowly things
move, how difficult it is to get any momentum going at allare true and never cease to
surprise me. At the same time, what really shocks me are all of the things that allow the
project to go forward anyway. Were doing pretty well. And its not just New Orleans.
When I was touring the schools in Arlington, Virginia, I saw children, who I wouldve
thought were too young, embrace the project and understand the intensity of the problem. Seeing them understand the project completely was one of the more gratifying
moments. There is a connection in this project between the beginning of one creative act
and the beginning of another. Kids from everywhere, from Mongolia to Brooklyn, making
these artworks, expressing themselves, just getting down to it straight away and drawingit means something. It reinforces commitment.
New Orleans itselfI hate to say it, but every day is not a holiday in the streets where
Im working. Every day is a deep struggle. Of course, there is life, there is humor, and
all of these other things. But I am aware that I have options that many people do not.
There are moments of extreme violence that are just inexplicable. We can talk about
the physical, nameable aspectsgang wars, guns, drugsbut there are elements you
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Rafetus Euphracticus, 2005. 2 views of fancy lingerie with French and Iraqi arabesque patterns.
JC: So where does the work reside? If someone buys the collected DVDs, is that just
another phase in the life of the project?
MC: Yes, thats where it lives, and where
it will continue to live, if you discover it.
And its not just on DVD; the show is syndicated to this day, in countries all over
the world. Were looking at a host that is
effective in transmitting its message over
and over again, perhaps mutating into
understanding as well.
JC: The GALA collective made one viral foray
into vernacular culture, but since then,
youve also created your own comic book
and an animated film, both based on the
events of September 11, 2001.
MC: Well, it was one of the major traumatic events in American history. I was moving
back and forth then, going from New York
to Detroit, to Los Angeles. It was September 10, and I was with my friends in L.A.,
lamenting how everything used to be edgier,
how New York was now too damn safe,
thanks to the antics of Rudy Giuliani; then
the next morning, everything changed.
Going back to New York, walking toward
Ground Zero, I was stopped before I could
even get there. I was stopped by the
images of peoples loved ones, little photographs tacked everywhere. I turned to my
friend Anne Pasternak and said, Now hope
will have to be eradicated in some other
part of the world. The outcome of this grief
and unknowing and fear would be war.
And thats what brought about the graphic
novella, 9-11/9-11.
JC: Looking back to Chile in 1973, what kind
of a linkage were you trying to forge?
MC: I knew that we would enter into a new
war. We didnt know about the C.I.A. in
Chile. It hadnt been part of the American
historical record or consciousness, not until
the 1990s. I knew about it in the early 80s,
seeing Alan Francovichs film, On Company
Business. At that moment, in 2001, it came
back to me how my whole understanding
of the American political process had been
twisted by learning what we had done
in other placesthat we had perpetrated
a 9/11 of our own in Chile, many years
before, and that we continued to support that nightmare for 17 years. Im obviously not
saying that theyre related, certainly not directly. But my graphic novel was an attempt
to de-center our preoccupation with creating this 9/11 as our national tragedy. Because
that would create a nationalism that I knew would alter our relations with the world.
We have to extricate ourselves from this nationalistic agenda, which leads to eradicating
the hopes of others and not coming to terms with our own history. The film and the
graphic novella both attempted to make us get outside of ourselves at a time when we
were all about ourselves and our fears. It was a dramatic, horrific moment, but more
moments will follow if we dont understand our position in the world.
JC: Do you see a clear thread running through all of these disparate, very different-looking
projects? Certainly theres an ongoing effort to effect change. Do you worry that your career
might be perceived as a series of only tangentially related episodes?
MC: Do I have a constant uneasiness of not knowing what Im going to do next? Yeah,
thats closer to it. I typically have four or five different concepts in operation at any given
time. Right now, Im working on a very traditional bronze memorial for a museum, for two
women thinking about their mother. Its a very heartfelt, personal project. Theres that
commission, and everything Im doing in New Orleans, and the film were looking to distribute, and another film were working on now.
JC: Is there something you havent done yet that youre just itchingor even fearfulto try?
MC: Oh, sure, Im a terrible photographer. But, you know, all of these different disciplines,
the definitions are so expansive at this point, theres so much freedom, I neednt even
worry about that. You know, I am curious about math. Im terrible at it, maybe I could
do something with that.
Jeffry Cudlin is a Washington, DC-based artist, critic, and curator who serves as Director
of Exhibitions for the Arlington Arts Center in Arlington, Virginia.
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DOUGLAS BAZ
Steven Siegel
Biography, 2008ongoing. Mixed-media
project with no fixed endpoint or dimensions.
BY JOHN K. GRANDE
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JG: You recently made a piece in Wyoming. Does that use newspaper again?
SS: No. It is a configuration of 30 cubic yards of wood mulch, representative of my interest in evolutionary biology. I call these works container pieces because their means of
organizing materials is more akin to biology than geology. There is more complexity and
more opportunity. Recently, my interest in science has moved toward life and evolutionary biology.
I have slowly been moving away from paper for 15 years, but the paper pieces are
popular. I will continue to do them as long as there are interesting sites in new places.
My discovery of paper as a medium 18 years ago grew out of an interest in sedimentary
geology. I was thinking about how we reintroduce materials back into the landscape,
specifically in landfills. What would geology look like in a few million years? I made the
first newspaper piece near my home in New York State and referred to it as New Geology.
I started with one newspaper and began stacking them. It was very labor intensive and
involved tons of newspaper, and it was very much about accepting the process. New
Geology was time-related if it was anything. Weather, climate, and the seasons all acted
on the piece. The paper would freeze solid in winter, fade and expand with the effects
of rain and forest light. The paper withstood a lot.
JG: You recently exhibited a new series at the Turchin Center for the Visual Arts in North
Carolina (2008) that addresses your interest in evolutionary biology.
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SS: I completed Wonderful Life, a group of 52 wall pieces, six years after I accidentally
got into it. It is about the simple, cumulative changes that generate form, from generation to generation. There being no wolves, competition for mates, or climate change to
force natural selection in the studio, the artists eye served as the determinant, what we
used to call sensibility. The title is borrowed from Stephen Jay Gould. He described the
matrix of life forms found in the fossil record of the Burgess Shale in British Columbia as
containing a variety perhaps never surpassed in the history of our planet.
JG: The layering of our landscape includes manufactured refuse, so what we call natural
may, in fact, not be natural at all.
SS: I dont really believe in the word natural, because I believe that we are the landscape, not only by our physical presence, but also by the messes we leave and the way
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about containers. Starting with the atom, the molecule, the cell, a tree, even humans
all of these elements are containers. This means that you can stand up and function,
from your DNA right up to your eyeballs. It is all incredibly complex. Understanding how
all this is built through the process of evolution serves as an over-arching metaphor. It
goes under is part of a series that I have been working on for years.
I have come to believe that the evolution and refinement of a craft is very similar to
the evolution of a species. Natural selection, environmental influence, mutationthese
things are there. A craft evolves because it is easier this way, or that tree was in the way,
or we needed the water to stay off this part. There are parallels to the natural world.
Once a craft gets established, I get bored with it and want to invent another one.
JG: The Wyoming sculpture partly disappears and gives a sense of flow into the landscape.
SS: The original plan used a modular system, and the framework was prefabricated
in the museums woodshop. All of the sections were made in advance, to be assembled on site, where they could be put together in whatever configuration I wanted.
We got about two-thirds of it framed, and the Laramie River flooded. For one week,
the site was inundated with water. We couldnt work anymore, and I was ready to go
home before it occurred to me that we could work on the other side of the water.
The piece appears to dive down into the water and come up the hillside on the other
bank. When the water receded, we went back and finished the first part. With no
water there, it looks like it dives down into the ground and comes back up at another
place, hence the title.
JG: Nature intervened directly in the Wyoming piece, something that I find fascinating,
particularly because it contributed to the process and final form of the work.
SS: I have discovered that when the site generates the form, it is more interesting. These
works are particular to the sites where they have been built.
JG: You mentioned a piece in Quebec. Is that in a park near Mirabel, north of Montreal?
SS: Yes. I was asked to do a newspaper piece. The people were so determined to make
this work, they put themselves out there every day. The trees configured the piece
as they did for my recent Korean work.
JG: Were the trees part of the support structure?
SS: No. I decided that a level top would contrast with the slope of the forest.
JG: So that relates to the skyline or light.
SS: It relates to horizon. If you walk through a landscape, you are vertical, or plumb.
When you look at a slope, you are aware it is sloping because your eyes are level. The
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flat top on this piece sets off the landscape and everything around it. At Yatoo
in Gongju, south of Seoul, I did something similar. The sculpture is on the
steep hillside of Mount Yeonmisan.
There are huge boulders on the hillside
that make the piece.
JG: What are you working on now?
SS: I am currently working on a new studio
project, a single piece of indeterminate
length that should keep me busy for a few
years. It has the working title Biography,
and it is very crazy and exciting. It represents the evolution of an object within the
physical constraints of the object. It is a
timeline, like a landscape, with references
to many things that have interested me,
and it involves many of the materials that
I have used in the past.
JG: What is it that makes a sculpture work?
SS: I would like the visual arts to be appreciated in the same way as music. If it needs
to be explained, it probably isnt very good.
Lets get rid of the verbiage, let it stand on
its own.
John K. Grande is a Contributing Editor for
Sculpture. He is Curator of Earth Art at
Canadas Royal Botanical Gardens. His most
recent book is Art Allsorts; Writings on Art &
Artists (2008), available at <www.lulu.com>.
His Web site is <www.grandescritique.com>.
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The Harmonics
of Dislocation
Saya Woolfalk
BY SARAH TANGUY
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No Place: A Ritual of the Empathics, 2009. Dance performance with Lauren Palmieri, Hilary Freeland, Brittany Sprung, Krista Scimeca, and Sara Senecal
with music by Kevin McFadden, installation at the University at Buffalo Art Gallery, NY.
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her tale into a 30-minute video, Ethnography of No Place. Made with filmmaker
and anthropologist Rachel Lears, the video
was completed during a year-long residency
at the Studio Museum in Harlem.
Inspired by Thomas Mores 16th-century
Utopia (meaning no place in Greek),
Ethnography of No Place elaborates on
the future of the future. Part-human and
part-plant, the androgynous inhabitants
of No Place are at one with nature and
change color in tandem with their ongoing metamorphoses. Rather than describe
the societal structure in classic anthropological fashion, Woolfalk and Lears present
vignettes of the inhabitants learning about
each other and undergoing their life cycle,
observed by an anthropologist/narrator
who feels displaced even while trying to
immerse herself. The ecosystem abounds
with everyday cast-offs given new life as
props and costumes la Pee-wees Playhouse. In the Prologue, the likes of eggshell cartons and Elmers glue bottles are
integrated into a freestanding, multi-panel
sculpture. Made from cardboard and painted
in DayGlo colors, it stands in front of a
Manhattan skyline. The narrator explains,
This portal is the threshold of their world.
Lets take a look at the glyphs. Dont worry
if its difficult at first. Come, follow me.
In Chapter Two, we encounter a No
Placean identified as the Self, surrounded
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A Ritual of the Empathics, 2009. Digital video, animation, and dance, 30-minute video.
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The Institute for the Analysis of Empathy, 2008. Performance in the woods of upstate NY. Part of Utopia
Conjuring Therapy, 2008. Blog, outdoor sculpture,
performance, and digital photographs.
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means to examine the present and re-evaluate the power dynamics of our cultural
norms. While the authors of fairy tales and
science fiction typically posit worlds just
beyond current reality, Woolfalk suspends
our disbelief with seemingly impossible scenarios where the extraordinary becomes
familiar and accessible. Like the Surrealists
before her, she sets ups jarring juxtapositions that break through our waking sleep
and begin to realize in material form the
dream of a utopian world. Ever curious, she
enjoys challenging herself and thrives on
discovery: Something is going on, but
what that is exactly, is not clear, as she,
a contemporary Oracle of Delphi, ponders
the future, a disturbed, intermediary
temporality aspiring for utopian perfection.
Sarah Tanguy is a Contributing Editor for
Sculpture based in Washington, DC.
BIFF HENRICH, COURTESY UNIVERSITY AT BUFFALO ART GALLERY, CENTER FOR THE ARTS, BUFFALO, NY
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Stallion, 2009. Marble dust and resin, 160 x 380 x 140 cm.
sculpture
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A Conversation with
Daphne Wright
BY ROBERT PREECE
sculpture
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Domestic Shrubbery, 1994. Plaster and continuous sound loop, 488 x 457
x 366 cm.
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Sculpture 29.2
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Above: Indeed Indeed, 1998. Tin foil, glue, and continuous sound loop, 366 cm.
high. Below: Where do broken hearts go?, 2000. Tin foil, glue, resin, continuous
sound loop, and 9 continuous-tone photopolymer intaglio plates, installation view.
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that I got rid of. Also, I sawed off some of the arms because the
work needed that. Id make all these strips of tin foilits very
labor-intensivethen Id start building like I was making a clay
pot. Id build up maybe one to two feet, then Id mix up the
liquid resin, dip the fiberglass mesh into it, and then put that
inside the coiled form.
RP: Why did you choose tin foil?
DW: I had been working with plaster for about five years. The
whole issue about plaster is its beauty and languagehistorical,
beautiful, muffled. That was the context, and then I started looking at tin foil. Tin foil has a deviousness to it, a falseness about
it, that I really liked. And its such an unlikely material to use to
make a monumental sculpture. I found it transfixing.
RP: It appears that you abruptly stopped using plaster.
DW: I did. It was a very bad thing to do career-wise. People get
to know you for one particular kind of language. And there can
be expectations of that language going on and getting more
sophisticated. But I found that the language I was using was
almost getting pre-empted by the material. So there was no
point in doing it. Changing to tin foil became almost painful. Id
think of plaster pieces, and it was quite painful not to do them.
It was really, really hard to make the tin-foil pieces work.
Swan, 2007. Marble dust and resin, 137 x 71 x 84 cm.
sculpture
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RP: And was there also an abrupt shift from the tin-foil to the
chalk and marble dust pieces?
DW: Definitely. This was shortly after the Irish Museum of Modern
Art bought Where do broken hearts go?. By this time with the tin
foil, I felt that I was making the same work, with the same strategic elements in itand it could be decoded. For you, yourself,
there always has to be an element of investigation, an element
of discovery.
RP: Then we should not expect the resin and marble dust to continue?
DW: Absolutely not. Im already moving on. I think that Ive
begun to understand what the marble dust pieces are about for
me. And because of that, Im on the verge of soon going into
another process of new work, maybe in two years.
RP: So you dont like people coming to your studio to see you work.
DW: When I was making the previous works, thats right, I didnt
like studio visits at all. Very, very few people have seen the new
stuff thats in process. Its really awkward and embarrassing at
the moment. Its terrible, its just bad.
RP: What has kept you interested in the death objects?
DW: Its some kind of total integration at the moment. Its the
same thing as with the cacti; at that time, I was completed fascinated with country and western. So, Ive been fascinated with
everything around the body of a dead horse. Before I made it, I
had really strong notions of what it would look like.
RP: How soon after their deaths did you cast the animals?
DW: With Swan (2007), it had just died. And then I positioned it.
I pose them.
RP: Does the choice of material memorialize them?
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Left: Lamb, 2006. Marble dust and resin, 67 x 17 x 38 cm. Above: Fox, 2006.
Marble dust and resin, 142 x 40.5 x 23 cm.
DW: I wouldnt say that. I started off using plaster, but that wasnt satisfactory. I then chose chalk and then marble and resin. It
seems to make my idea for the work almost complete in that the
material has all of these references, immediatelyto classical
sculpture, to funereal furniture. The language that it speaks is
apt for a death mask.
RP: Were there any challenges in arranging the casting of a racehorseor with the other animals?
DW: Probably one of the most difficult was the swan, because
theres an urban myth that all swans belong to the Queen of
England. But thats not true, its just the ones along parts of the
Thames. There are certainly a series of arrangements that need to
be made. People ask a lot of questions, which I think is very good.
People have been concerned about ethics and also the threat of
negative media coverage. This is, after all, how the U.K. and Ireland
are now. In the end, after people learn what Im doing and how Im
doing it, then I find people who will support the process because
the animals are treated with complete respect.
RP: What are your future plans?
DW: Im looking at taking the animal works further in a couple
of interesting ways. And Ive already found my next material.
But right now thats a secret.
Robert Preece is the publisher of Art Design Caf, <www.
____
artdesigncafe.com>,
____________ and a Contributing Editor for Sculpture.
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COLLECTING SPECIMENS
A Conversation with
Lynn Aldrich
BY COLLETTE CHATTOPADHYAY
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Desert Springs, 200609. Steel downspouts, gutter extensions and corners, exterior enamel, 59 x 70 x 62 in.
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Left: Quench, 2007. Steel downspout and elbows, straps, leaf strainer, plastic hoses, and oil, 95 x 17
the dark brown and dark green were forebodingsnake-like, as though the downspout were coming alive. Naming it Parch,
when there isnt any water to collect,
makes the material used to collect the
water aggressive.
CC: Many of your works animate the
inanimate, becoming aggressive and
even monstrous.
LA: In a way, making sculpture is an archaic
activity. Theres so much emphasis today
on ridding yourself of the physical, with
the computer and our general lack of
awareness of geography and place. I never
set out to have a recognizable style. It was
more about being interested, almost like
a biologist, in exploring and collecting
specimens. I think that there is also an
environmental statement. How is it that we live in a culture that offers so much supposedly ready to satisfy and still there is a spiritual and physical longing for refreshment, for
revival? I feel like these mouths are reaching out from thirst or longing.
CC: The Lamp Shade pieces are actually based on a lamp shade?
LA: Yes, a shade made for one of those huge lamps in a hotel lobby. Theres a place here
in L.A. that makes large, oversized lamp shades. I think this is about as big as you can get.
I did about 12 of these pieces, and each one of them referenced a time of day or some
aspect of light, either in our sense of day and night or in the cosmos.
CC: They seem to speak about sensitivity to light in sculpture, an ephemeral emphasis.
LA: Classically, sculpture has been about form, and it was almost considered slipping
into the decorative if you were too concerned with surface, which could detract from
form. Im well aware of that because I dont want my work to appear decorative. But
Im simultaneously interested in surface. I wanted to get this form to do something
that was true to its character as a lamp shade.
CC: How did you make the form spherical?
LA: First, I had to make the shade itself strong. Its supported with wood, and I sculpted
the interior cove with a plasticized clay that doesnt shrink or crack. Then, I had to sand
and sand, and layer and layer. Finally, I got to the gesso. I could have it fabricated in fiberglass, but Im interested in having the quality of subtlety that comes from going over it.
CC: You extend the hand-fabricated methods of artistic creation, even though the form
emerges from the mechanically manufactured world.
LA: I have a rule for myself that Ill intervene in order to have some revelation occur, but
I want to do the least amount possible. Another work, which isnt finished, incorporates
images from the Spitzer telescope, at Cal Tech in Pasadena. The Spitzer does infrared
imagery of the outer cosmos, so they can see the past.
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x 24 in. Above: Rogue, 2007. Garden hoses, fiberglass, and steel, 60 x 55 x 32 in.
Sculpture 29.2
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Left: Miracle Aisle 21, 2006. Plastic downspout, plastic tubes, acrylic, and oil, 27 x 11 x 13 in. Right: Starting Over: Neo-Atlantis, 2008. Sponges, scrubbers,
LEFT: JOSHUA WHITE / RIGHT: COURTESY CARL BERG PROJECTS, LOS ANGELES
scouring pads, mop heads, brushes, plumbing parts, and wood, 5 x 7.5 x 5.5 ft.
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M a r k e t p l ac e
Northwest Call for Art
seeking a wall sculpture to be displayed in the new Campus Center Building
at Central Oregon Community College in Bend, Oregon. Artists must reside
in the Northwest. The submission deadline is May 3, 2010. Visit the Web site
for all the details at <www.cocc.edu/publicart> or call 541/383-7564.
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reviews
Berkeley
The artists in Human/Nature projected ecological concerns into artworks by engaging with people
in diverse UNESCO World Heritage
sites, creating new work inspired
and informed not only by their
experiences in nature but also by
their interactions with local communities. Rare, a visionary conservation agency in Virginia, which operates in more than 90 sites in some
40 countries, contacted Hugh
Davies, director of the Museum of
Contemporary Art, San Diego, to
help identify artists who could deal
with problems of conservation. In
Daviess words: Why not enlist
artists intelligence and creativity,
and their ability to bring attention
and focus to the plight of threatened
habitats and species? The museum
and Rare selected a number of critical sites. The Berkeley Art Museum
also came on board. During the
six-year gestation period, the two
museums decided on a roster of
artists who seemed best equipped
to work with diverse populations
in distant areas: Mark Dion, Marcos
Ramrez ERRE, Rigo 23, Dario Robleto, and Diana Thater, as well as
MacArthur genius winners Ann
Hamilton, Iigo Manglano-Ovalle,
and Xu Bing. The artists chose their
sites, and after receiving their commissions and budgets, made multiple trips to learn about the environments, meet with the people, prepare their proposals, and eventually,
to produce the work.
Dion, who is well known for his
Wunderkammer assemblages
and who has previously worked in
Guyana and Borneo, traveled to
Komodo National Park in Indonesia,
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BEN BLACKWELL, COURTESY THE ARTIST AND DAMELIO TERRAS, NY, INMAN GALLERY, HOUSTON, GALERIE PRAZ-DELAVALLADE, PARIS, ACME, LOS ANGELES
Human/Nature
Berkeley Art Museum and Pacific
Film Archive
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Above: Iigo Manglano-Ovalle, Juggernaut, 2008. Super 16-mm film digitized to HD video projection, 5:44 video loop.
Below: Mark Dion, Mobile Ranger LibraryKomodo National Park, 2008. Mixed media, 96 x 84.5 x 39.5 in.
TOP: PABLO MASON, COURTESY THE ARTIST AND MAX PROTETCH, NY / BOTTOM: PABLO MASON, COURTESY THE ARTIST AND TANYA BONAKDAR GALLERY, NY
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B o sto n
Charles Jones
Boston Sculptors Gallery
A 12-foot-tall, butterscotch-colored
leather sculpture cleverly crosses an
elephant head and a gas mask. Straps
and buckles hanging from where the
neck should be suggest that the creature has been tamed by humanity,
and the cruel-looking steel bars
attaching it to the wall make clear
that it is not free to roam. The drooping trunk ends in a trap-like metal
canister, preventing it from gathering
food. Charles Joness Accord Group/
Kyoto refers to the Kyoto Accord, an
international agreement to reduce
greenhouse gas emissions. Even if
you dont know the meaning of the
title, though, the work offers plenty
to think about, starting with
mankinds uneasy relationship with
the rest of the natural world.
This was an idea-driven show,
with artists notebooks and models
of works to be executed on commission. Politics and history, Nikita
Khrushchev, Fidel Castro, and the
16th-century explorer Ferdinand
Magellan, all figured into the plan.
Americans are notoriously ignorant
of anything that happened yester-
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The only pieces that I didnt comprehend on their own were the two
about Magellan. The smaller consists of a tiny throne-like metal
chair projecting from a stone cliff
(actually metal as well) mounted
on the wall. In his statement, Jones
says that he sees Magellans epic
voyage as an astounding feat by
a cut of men that we cannot truly
understandan accomplishment in
their era that may be likened to
the moon landing in ours. But I had
to read that to know.
Christine Temin
N e w Yo r k
Don Porcaro
Kouros Gallery
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Thomas Macaulay
Alice F. and Harris K. Weston
Art Gallery
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them, a practice that keeps the visitor off-kilter but alert. Unexpected
sight lines through openings in the
structure directed attention to the
Csar Pelli-designed surroundings,
including a masonry wall of brick
and stone and the repetitive rectangles of the glass walls. The sights
and sounds beyond the windows also
influenced Macaulays work here.
Moving through, visitors came
to a division in the house. Brown
boxes, twice the size of the white
ones, formed a diagonal wall
through the structure, with a zigzag
halfway through. Macaulay may
have been suggesting that living
arrangements, if they are to work at
all, usually accommodate divisions.
Or he may have been referring to
the divided uses of the space itself.
Or he may have felt that this big
structure needed a definitive line
through it. The piece was so large
(approximately 20 x 30 x 40 feet)
that this strong gesture tightened
and enhanced the formal concept.
Despite the prosaic material, the
finished structure had a balanced,
almost classical sense to it. Playful
elementsamong them, the tree
and a freestanding arrangement
that mimicked an outdoor arbor
existed in harmony with deeper
notions. Houses, which took on a
symbolism beyond their function
in the recent economic rupture,
lend themselves to storytelling.
Macaulays work tells stories both
old and new.
Jane Durrell
H o u sto n
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TOP: RICK GARDNER, COURTESY THE ARTISTS AND MCCLAIN GALLERY, HOUSTON / BOTTOM: BRYAN OHNO
S e at t l e
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insert sculptural elements into commercial contexts that add far more
than a relief from product or service
displays.
Matthew Kangas
To r o n to
Kai Chan
David Kaye Gallery
Kai Chans sculptures are his antidote to our frenetic, attentiondeficited culture. In A Funny Thing
Happened on the Way to China, he
presented 11 compact and refined
universes that focus the viewers
attention on juxtapositions of texture and material. The delicacy and
quietness of the sculptures require
dedicated contemplation by
the viewer. Chan says, playfully, The
world is going too fast. I really
subscribe to the slow-cooking move-
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The more complex Spot demonstrates Chans appreciation of texture and surfaces and his ability to
unite disparate materials. The form
is reminiscent of Chinese calligraphys angular flow. Here, Chan plays
with the visual, as opposed to the
actual, weight of his materials. The
verticals of the silk thread webbing
act as a counterpoise to the dangling aluminum weight. The branchs
spotted and polished surface
echoes both the dappled colors of
the webbing and the metals sheen.
Thus, the branch bridges the two
opposing forms, and the commonalities of their surfaces allow the
piece to blend as a composition.
Chans work is not muscular. It
does not elicit raw reactions. Instead,
he requires intellectual engagement,
asking viewers to ponder, in his
words, what the work is telling
them in a personal way and how it
relates to their own experiences.
J. Lynn Fraser
To k a m ac h i C i t y / Ts u n a n
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To w n , J a pa n
Pascal Marthine Tayou, Reverse City, 2009. Wood and mixed media, approximately 5 meters high. From the EchigoTsumari Art Triennial.
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isc
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P E O P L E , P L AC E S , A N D E V E N T S
This past September, ISC Executive Director Johannah Hutchison and Membership
Coordinator Lauren Hallden-Abberton traveled to Chattanooga, Tennessee, to attend
the Mid-South Sculpture Alliances Sculpture Conference 2009. This exciting event,
which attracted 150 attendees from 14 states, featured a variety of programming,
Left: Opening reception at the Hunter Museum of American Art, overlooking the Tennessee River.
Right: Verina Baxter, MSA president and conference chair, welcomes the crowd to MSAs Sculpture
Conference 2009.
Left: Stan Townsend (far right) of Townsend Atelier during his mold-making and patina demonstration.
Right: Installation of Ray Katzs Celestial Navigator at the Tennessee Riverpark; Michael Dillons Up
and Away on the right.
Left: Indoor Exhibition Award of Excellence winners Val Lyle, MSA member, and Ron Gard, CSI
member, are flanked by exhibition jurors Robert Stackhouse and Carol Mickett. Right: Conference
attendees tour John Henrys sculpture studio.
CHARLES MAHAN
Vol. 29, No. 2 2010. Sculpture (ISSN 0889-728X) is published monthly, except February and August, by the International Sculpture Center. Editorial office: 1633 Connecticut Ave. NW, 4th floor, Washington, DC
20009. ISC Membership and Subscription office: 19 Fairgrounds Rd., Suite B, Hamilton, NJ 08619, U.S.A. Tel. 609.689.1051. Fax 609.689.1061. E-mail <isc@sculpture.org>.
_______ Annual membership dues are US $100;
subscription only, US $55. (For subscriptions or memberships outside the U.S., Canada, and Mexico add US $20, includes airmail delivery.) Permission is required for any reproduction. Sculpture is not responsible for unsolicited material. Please send an SASE with material requiring return. Opinions expressed and validity of information herein are the responsibility of the author, not the ISC. Advertising in Sculpture
is not an indication of endorsement by the ISC, and the ISC disclaims liability for any claims made by advertisers and for images reproduced by advertisers. Periodicals postage paid at Washington, DC, and additional mailing offices. Postmaster: Send change of address to International Sculpture Center, 19 Fairgrounds Rd., Suite B, Hamilton, NJ 08619, U.S.A. U.S. newsstand distribution by CMG, Inc., 250 W. 55th
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