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sculpture

November 2012
Vol. 31 No. 9
A publication of the
International Sculpture Center
www.sculpture.org

November 2012 Vol. 31 No. 9

Do Ho Suh
Tony Cragg
Ken Lum
Liz Magor

A publication of the International Sculpture Center

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THE WORLDS NEWSSTAND

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E.V. DAY
Pollinator (Water Lily)
36 x 36
Polished Aluminum
2012
Photo by Jacob Sterenberg

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THE WORLDS NEWSSTAND

From the Chairman

ISC Board of Trustees


Chairman: Marc LeBaron, Lincoln, NE

This is a great time to look back and reflect on the many accomplishments of the International Sculpture Center over the past year. Year
three of our five-year strategic plan was full of new programs and
events that further enriched the lives of our membership.
Most recently, we successfully held our International Sculpture
Conference, one of the most exciting events of the year. This years
conference featured great panels, presentations, workshops, demonstrations, mentoring sessions, and ARTSlams. Evening parties rounded
off daytime events with opportunities to network and learn more
about sculpture. In all, more than 300 people from all over the world
attended, including sculptors and sculpture lovers from Australia,
Bangladesh, Canada, France, Mexico, Nepal, New Zealand, Nigeria,
and the UK.
It was especially great that many students attended this years
conference. In 2012, the ISC increased its commitment to furthering
the development of young people interested in sculpture. This is
a good time to remind ISC members that we are currently accepting
nominations for the 2013 Outstanding Educator Award. Successful
candidates for this award are masters of sculptural history, theory,
processes, and techniques, who have devoted a major part of their
careers to the education of the next generation and to the advancement of the sculpture field as a whole.
In this months ISC News (page 80), we recognize individuals who
are leaving and joining our Board of Trustees. I would like to recognize
David Handley, Mary Ellen Scherl, and Steinunn Thorarinsdottir for
their service to the Board. All three departing members have contributed greatly to the success of the ISC, and we thank them for
their participation and ideas. I am also pleased to welcome two new
Board members. Deedee Morrison joined the Board in March and has
allowed us to leverage her years of experience as a magazine publisher
to strengthen the communication activities of the ISC. Carla Hanzal,
the Chief Curator of Contemporary and Modern Art at the Mint
Museum, is our second new Board member. Her understanding of
sculpture and devotion to the field make her a valuable addition to
our Board.
Please join me in welcoming our new Board members and thanking
those members who are departing for their service to the ISC.
.
Marc LeBaron
Chairman, ISC Board of Trustees

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Chakaia Booker, New York, NY


Robert Edwards, Naples, FL
Bill FitzGibbons, San Antonio, TX
Ralfonso Gschwend, Switzerland
Carla Hanzal, Charlotte, NC
Paul Hubbard, Philadelphia, PA
Ree Kaneko, Omaha, NE
Gertrud Kohler-Aeschlimann, Switzerland
Creighton Michael, Mt. Kisco, NY
Deedee Morrison, Birmingham, AL
Prescott Muir, Salt Lake City, UT
George W. Neubert, Brownville, NE
F. Douglass Schatz, Potsdam, NY
Steinunn Thorarinsdottir, Iceland
Boaz Vaadia, New York, NY
Philipp von Matt, Germany
Chairmen Emeriti: Robert Duncan, Lincoln, NE
John Henry, Chattanooga, TN
Peter Hobart, Italy
Josh Kanter, Salt Lake City, UT
Robert Vogele, Hinsdale, IL
Founder: Elden Tefft, Lawrence, KS
Lifetime Achievement in
Contemporary Sculpture Recipients
Magdalena Abakanowicz
Fletcher Benton
Fernando Botero
Louise Bourgeois
Anthony Caro
Elizabeth Catlett
John Chamberlain
Eduardo Chillida
Christo & Jeanne-Claude
Mark di Suvero
Richard Hunt
Phillip King
William King
Manuel Neri
Claes Oldenburg & Coosje van Bruggen
Nam June Paik
Arnaldo Pomodoro
Gio Pomodoro
Robert Rauschenberg
George Rickey
George Segal
Kenneth Snelson
Frank Stella
William Tucker

Sculpture 31.9

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sculpture
November 2012
Vol. 31 No. 9
A publication of the
International Sculpture Center

50

30

Departments

Features

14 Itinerary

22

Personal Histories: A Conversation with Do Ho Suh by Sandra Wagner

30

Foon Sham: Crafting Dialogues by Aneta Georgievska-Shine

36

The Potency of Ordinary Objects: A Conversation with Liz Magor by Rachel Rosenfield Lafo

20 Commissions
80 ISC News

Reviews

42

Ken Lum: It Takes Me Back Somewhere by Gary Pearson

68

Olympics: London 2012 Festival

46

The Meditative Eye: The Sculpture of Ron Mehlman by Virginia Maksymowicz

70

Santa Monica: Masayuki Oda

50

Thinking About Things We Cant See: A Conversation with Tony Cragg by Jan Garden Castro

71

Miami: Ruben Ochoa

72

Boston: Swoon

72

Mountainville, New York: Light & Landscape

73

New York: Frieze Art Fair Sculpture Park

74

New York: Carol Mickett and Robert Stackhouse

75

New York: Jess Soto

76

Columbus, Ohio: Carved and Whittled Sculpture

76

Newport, Rhode Island: China Blue

77

Ottawa, Canada: David Askevold

77

San Gimignano, Italy: Antony Gormley

78

Zurich: Koenraad Dedobbeleer

79

Tokyo: Motohiko Odani

42
36

79

On the Cover: Do Ho Suh, Grass Roots Square,


2012. View of work installed at Government
Building Complex Part 6, KORO, Oslo. Photo:
Do Ho Suh, Courtesy Public Art NorwayKORO.

Sculpture November 2012

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isc
I N T E R N AT I O N A L S C U L P T U R E C E N T E R
Executive Director Johannah Hutchison
Office Manager Denise Jester
Executive Assistant Alyssa Brubaker
Membership Manager Julie Hain
Membership Associate Manju Philip
Development Manager Candice Lombardi
Web Manager Karin Jervert
Conference and Events Manager Erin Gautsche
Conference and Events Coordinator Samantha Rauscher
Advertising Services Associate Jeannette Darr
ISC Headquarters
19 Fairgrounds Road, Suite B
Hamilton, New Jersey 08619
Phone: 609.689.1051, fax 609.689.1061
E-mail: isc@sculpture.org
_________

SCULPTURE MAGAZINE
Editor Glenn Harper
Managing Editor Twylene Moyer
Editorial Assistants Elena Goukassian, Amanda Hickok
Design Eileen Schramm visual communication
Advertising Sales Manager Brenden OHanlon
Contributing Editors Maria Carolina Baulo (Buenos
Aires), Roger Boyce (Christchurch), Susan Canning (New
York), Marty Carlock (Boston), Jan Garden Castro (New
York), Collette Chattopadhyay (Los Angeles), Ina Cole
(London), Ana Finel Honigman (Berlin), John K. Grande
(Montreal), Kay Itoi (Tokyo), Matthew Kangas (Seattle),
Zoe Kosmidou (Athens), Angela Levine (Tel Aviv), Brian
McAvera (Belfast), Robert C. Morgan (New York), Robert
Preece (Rotterdam), Brooke Kamin Rapaport (New
York), Ken Scarlett (Melbourne), Peter Selz (Berkeley),
Sarah Tanguy (Washington), Laura Tansini (Rome)

Address all editorial correspondence to:


Sculpture
1633 Connecticut Avenue NW, 4th Floor
Washington, DC 20009
Phone: 202.234.0555, fax 202.234.2663
E-mail: gharper@sculpture.org
____________
Sculpture On-Line on the International
Sculpture Center Web site:
www.sculpture.org
Advertising information
E-mail <advertising@sculpture.org>
_____________

Each issue of Sculpture is indexed in The Art Index and


the Bibliography of the History of Art (BHA).

I N T E R N AT I O N A L S C U L P T U R E C E N T E R C O N T E M P O R A R Y S C U L P T U R E C I R C L E
The International Sculpture Center is a 501(c)3 nonprofit organization
that provides programming and services supported by contributions, grants,
sponsorships, and memberships.

Benefactors Circle ($100,000+)


Atlantic Foundation
Fletcher Benton
Karen & Robert Duncan
John Henry
J. Seward Johnson, Jr.
Johnson Art & Education Foundation
Ree & Jun Kaneko
Joshua S. Kanter
Kanter Family Foundation
Gertrud & Heinz Kohler-Aeschlimann
Marc LeBaron
Lincoln Industries
National Endowment for the Arts
Mary OShaughnessy
I.A. OShaughnessy Foundation
Estate of John A. Renna
Jon & Mary Shirley Foundation
Dr. & Mrs. Robert Slotkin
Bernar Venet
Major Donors ($50,00099,999)
Chakaia Booker
Erik & Michele Christiansen
Terry & Robert Edwards
Rob Fisher
Richard Hunt
Robert Mangold
Fred & Lena Meijer
Frederik Meijer Gardens & Sculpture Park
New Jersey State Council on the Arts
Pew Charitable Trust
Arnaldo Pomodoro
Walter Schatz
William Tucker
Nadine Witkin, Estate of Isaac Witkin
Mary & John Young

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The ISC Board of Trustees gratefully acknowledges the generosity of our


members and donors in our Contemporary Sculpture Circle: those who have
contributed $350 and above.

Chairmans Circle ($10,00049,999)


Magdalena Abakanowicz
Anonymous Foundation
Janet Blocker
Blue Star Contemporary Art Center
Debra Cafaro & Terrance Livingston
Sir Anthony Caro
Chelsea College of Art & Design
Chicago Arts District/Podmajersky, Inc.
Clinton Family Fund
Richard Cohen
Don Cooperman
David Diamond
Jarvis & Constance Doctorow Family Foundation
Geraldine R. Dodge Foundation
Lin Emery
Fred Eychaner
Carole Feuerman
Doris & Donald Fisher
Bill FitzGibbons
Alan Gibbs
David Handley
Richard Heinrich
Daniel A. Henderson
Michelle Hobart
Peter C. Hobart
Joyce & Seward Johnson Foundation
KANEKO
Mary Ann Keeler
Keeler Foundation
Phillip King
William King
Anne Kohs Associates
Cynthia Madden Leitner/Museum of Outdoor Arts
Toby D. Lewis Philanthropic Fund

Marlene & Sandy Louchheim


Marlborough Gallery
Patricia Meadows
Creighton Michael
Barrie Mowatt
Manuel Neri
New Jersey Cultural Trust
Ralph OConnor
Frances & Albert Paley
Patricia Renick
Pat Renick Gift Fund
Henry Richardson
Melody Sawyer Richardson
Russ Rubert
Salt Lake Art Center
Carol L. Sarosik & Shelley Padnos
June & Paul Schorr, III
Judith Shea
Armando Silva
Kenneth & Katherine Snelson
STRETCH
Mark di Suvero
Takahisa Suzuki
Aylin Tahincioglu
Steinunn Thorarinsdottir
Tishman Speyer
Brian Tune
University of Nebraska Medical Center
University of the Arts London
Boaz Vaadia
Robert E. Vogele
Georgia Welles
Elizabeth Erdreich White

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About the ISC


The International Sculpture Center is a member-supported, nonprofit organization
founded in 1960 to champion the creation and understanding of sculpture and
its unique and vital contribution to society. The mission of the ISC is to expand
public understanding and appreciation of sculpture internationally, demonstrate
the power of sculpture to educate and effect social change, engage artists and
arts professionals in a dialogue to advance the art form, and promote a supportive environment for sculpture and sculptors. The ISC values: our constituents
Sculptors, Institutions, and Patrons; dialogueas the catalyst to innovation and
understanding; educationas fundamental to personal, professional, and societal growth; and communityas a place for encouragement and opportunity.
Membership
ISC membership includes subscriptions to Sculpture and Insider; access to
International Sculpture Conferences; free registration in Portfolio, the ISCs
on-line sculpture registry; and discounts on publications, supplies, and services.
International Sculpture Conferences
The ISCs International Sculpture Conferences gather sculpture enthusiasts
from all over the world to network and dialogue about technical, aesthetic,
and professional issues.

Sculpture Magazine
Published 10 times per year, Sculpture is dedicated to all forms of contemporary
sculpture. The members edition includes the Insider newsletter, which contains
timely information on professional opportunities for sculptors, as well as a list
of recent public art commissions and announcements of members accomplishments.
www.sculpture.org
The ISCs award-winning Web site <www.sculpture.org> is the most comprehensive
resource for information on sculpture. It features Portfolio, an on-line slide
registry and referral system providing detailed information about artists and their
work to buyers and exhibitors; the Sculpture Parks and Gardens Directory, with
listings of over 250 outdoor sculpture destinations; Opportunities, a membership
service with commissions, jobs, and other professional listings; plus the ISC
newsletter and extensive information about the world of sculpture.
Education Programs and Special Events
ISC programs include the Outstanding Sculpture Educator Award, the Outstanding
Student Achievement in Contemporary Sculpture Awards, and the Lifetime
Achievement Award in Contemporary Sculpture and gala. Other special events
include opportunities for viewing art and for meeting colleagues in the field.

This program is made possible in


part by funds from the New Jersey
State Council on the Arts/Department
of State, a Partner Agency of the
National Endowment for the Arts.

The ISCs publications


are supported in part
by a grant from the
National Endowment
for the Arts.

New Jersey Cultural Trust

Directors Circle ($5,0009,999)


Ana & Gui Affonso
Patty & Jay Baker Naples Museum
of Art
Sydney & Walda Besthoff
Otto M. Budig Family Foundation
Lisa Colburn
Ric Collier
FreedmanArt
Grounds For Sculpture

Ralf Gschwend
Haunch of Venison
Michael Johnson
Tony Karman
Gallery Kasahara
Susan Lloyd
Martin Margulies
Merchandise Mart Properties
Jill & Paul Meister

Gerard Meulensteen
Deedee Morrison
National Gallery, London
Kristen Nordahl
Brian Ohno
Claes Oldenburg &
Coosje van Bruggen
Dennis Oppenheim
Bill Roy

Doug Schatz
Mary Ellen Scherl
Sculpture Community/
sculpture.net
Sebastin
Eve & Fred Simon
Lisa & Tom Smith
Duane Stranahan, Jr.
Roselyn Swig

Tate
Julian Taub
Laura Thorne
University of Cincinnati
Harry T. Wilks
Isaac Witkin
Riva Yares Gallery

Patrons Circle ($2,5004,999)


Prescott Muir
Museum of Arts & Design
National Academy Museum
Nicola J. & Nanci J. Lanni Fund

Elizabeth Catlett
Chateau Ste. Michelle Winery
Lostn Foundation
Moore College of Art & Design
Friends Circle ($1,0002,499)
Dean Arkfeld
Doris H. Arkin
Verina Baxter
Bollinger Atelier
Melva Bucksbaum & Raymond Learsy
Giancarlo Calicchia
Cause Contemporary Gallery
Chicago Gallery News
The Columbus Museum
Henry Davis
Guerra de la Paz
Digital Atelier

Terry Dintenfass, Inc.


James Geier
Agnes Gund
Dr. LaRue Harding
Ed Hardy Habit/Hardy LLC
Olga Hirshhorn
Paul Hubbard
Paul Klein
Phlyssa Koshland
Gary Kulak
Chuck Levy
Jim & Karen Linder

Professional Circle ($350999)


555 International Inc.Ruth AbernethyLinda Ackley-EakerD. James Adams
John AdduciOsman AkanKhulod AlbugamiEl AnatsuiArt ValleyGordon
B. AuchinclossMichael AurbachHelena Bacardi-KielyRonald Balser
Sarah Barnhart-FieldsBrooke BarrieJerry Ross BarrishCarlos Basanta
Fatma Basoglu-TakiiilBruce BeasleyJoseph BechererEdward Benavente
Joseph BeneveniaRonald BermanHenri BertrandDenice BizotRita Blitt
Christian BoltGilbert V. BoroLouise BourgeoisJudith BritainWalter
BruszewskiGil BruvelHal BucknerH. Edward BurkeKeith BushMary
Pat ByrnePattie ByronImel Sierra CabreraKati CasidaJodie Cavinder
Asherah CinnamonJohn ClementJonathan ClowesTara ConleyFuller
Cowles & Constance MayeronAmir DaghighSukhdev DailArianne Dar
Paul A. DeansAngel DelgadoG.S. DemirokBruce DempseyAlbert
DicruttaloKonstantin DimopoulosMarylyn DintenfassKenneth Dipaola
Linda DonelsonDorit DornierPhilip S. DrillLaura Evans DurantLouise
DurocherHerb EatonCharles EisemannJorge ElizondoRand Elliott/Elliott
& Associates ArchitectsElaine EllisBob EmserJohn W. EvansPhilip John
EvettJohann FeilacherHelaman FergusonPattie Porter FirestoneTalley
FisherTrue FisherDustine FolwarcznyBasil C. FrankMary Annella Frank
Dan FreemanJason FrizzellJames GallucciRon GardGill GatfieldBeatriz
GerensteinJames S. GibsonHelgi GislasonEdmund GlassGlenn Green

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William R. Padnos
Princeton University Art Museum
Kiki Smith
Elisabeth Swanson

Steve Maloney
Robert E. Meyerhoff & Rheda Becker
Millennium Park, Inc.
Lowell Miller
David Mirvish
Museum of Contemporary Art,
Chicago
Naples Illustrated
John P. & Anne Nelson
George Neubert
Sassona Norton
Ralph OConnor

Doris & Peter Tilles


Philipp von Matt

Steven Oliver
Tom Otterness
Enid J. Packard
Raul Perez
Polich Tallix Art Foundry
Roger Smith Hotel
Ky & Jane Rohman
Greg & Laura Schnackel
Sculpt Nouveau
Storm King Art Center
Thai Metal Crafters
The Todd & Betiana Simon Foundation

Galleries & Sculpture GardenDeWitt GodfreyYuebin GongGordon


Huether StudioFrancis GreenburgerSarah GreicheGabriele Poehlmann
GrundigBarbara GrygutisSimon GudgeonThomas GussRoger Halligan
Wataru HamasakaPhyllis B. HammondJens Ingvard HansenBarbara
HashimotoSally HeplerJoyce HilliouBernard HoseyJack Howard-Potter
Brad HoweRobert HuffKen HustonYoshitada IharaEve IngallsLucy
IrvineJames Madison UniversityDr. Stephen JoffeJ. Johnson Gallery
Julia JitkoffAndrew JordanSasa JovicWolfram KaltRay KatzCornelia
KavanaghRobert E. KellyLita KelmensonOrest KeywanGloria Kisch
Stephen KishelBernard KlevickasAdriana KorkosKrasl Art CenterDave
& Vicki KrecekKUBOLynn E. La CountWon LeeMichael Le GrandEvan
LewisJohn R. LightKen LightMarvin LipofskyRobert LonghurstSharon
LoperCharles LovingLynden Sculpture GardenRoger MachinNoriaki
MaedaAndrea MalaerEdward MayerWilliam McBrideIsabel McCall
Tom McCormickJoseph McDonnellSam McKinneyDarcy MeekerRon
MehlmanSaul MelmanGina MichaelsCarol Mickett & Robert
StackhouseRuth Aizuss MigdalBrian MonaghanRichard Moore, IIIKeld
MoseholmW.W. MuellerAnna MurchMorley MyersArnold Nadler
Marina NashNathan Manilow Sculpture ParkNatures CirclesJames
NickelDonald NoonJoseph OConnellPalmyra Sculpture CentreRalph

Tmima
George Tobolowsky
Tootsie Roll Industries
UBS Financial Services
Edward Ulhir
Steve Vail Fine Arts
Hans Van De Bovenkamp LTD
Vector Custom Fabricating, Inc.
Ursula von Rydingsvard
Alex Wagman

H. PaquinRonald ParksMark PattersonCarol PeligianBeverly Pepper


Cathy & Troy PerryAnne & Doug PetersonDirk PetersonDaniel Postellon
Bev PreciousLaura PriebeJonathan QuickMorton RachofskyKimberly
RadochiaMarcia RaffVicky RandallMaureen ReardonJeannette Rein
Roger ReutimannRobert Webb Sculpture Garden/Creative Arts GuildKevin
RobbAndrew RogersSalvatore RomanoTom ScarffPeter Schifrin
Sculpture Space, Inc.Joseph H. SeipelPatrick ShannonKambiz Sharif
Jerry ShoreDebra SilverVanessa L. SmithYvette Kaiser SmithSusan
Smith-TreesStan SmoklerSam SpiczkaMarlise SpielmannHoward
SpringerRobert St. CroixEric SteinEric StephensonElizabeth StrongCuevasJozef SumichrastDavid SywalskiMarijana TadicTash Taskale
Cordell TaylorRichard TaylorAna ThielPeter TilleyRein TriefeldtJohn
ValpocelliVasko VassilevKathy VenterAles VeselyJill VineyBruce
VoyceEd WalkerMartha WalkerSydney WallerMark WarwickJames
WattsJim WheelerLynn Fawcett WhitingMichael WhitingJohn
WiederspanMadeline WienerW.K. Kellogg FoundationWesley Wofford
Jean WolffDr. Barnaby WrightJoan WynnCigdem YapanarRiva Yares
Albert YoungLarry YoungGenrich ZafirGavin Zeigler

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THE MARKET

POP UP SPACES in the heart


OF MIDTOWN MANHATTAN

ate
th

hotel
themarketatrshotel.com

501 LEXINGTON AVENUE


NEW YORK, NY 10017

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itinerary

Othoniel, The Secret Happy End.


Above: Amalia Pica, Now, Speak!,
from Common Ground.

Austin Museum of ArtLaguna


Gloria
Austin, Texas
April Wood
Through December 2, 2012
Woods beautifully crafted works
focus on consumption and its psychological extremesfrom pleasurable to masochistic, over-indulgent
to withholding, alluring to repulsive.
Her Feeding the Hunger sculptures, which resemble abstracted
flowers, become almost painfully
disturbing when activated and
placed inside the mouth. Surreal
and perverse, these cyborgian
feeding tubes underscore the fine

line between choice and compulsion,


sustenance and indoctrination. The
mouth can receive or reject, but such
prosthetics seem to enable, even
enforce, the gaping maw of supersized force-feeding.
Tel: 512.458.8191
Web site
<http://amoa-arthouse.org>
Brooklyn Museum
Brooklyn
Jean-Michel Othoniel
Through December 2, 2012
Othoniel began his career with enigmatic, intimate sculptures in sulfur,
lead, wax, and phosphorus, but he is
best known for his large-scale work

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in glass, a medium that he infuses


with delicacy, light, and fantasy. This
retrospective traces his idiosyncratic
path through some of the 20th centurys most important art movements, from Surrealism to Minimalism, Arte Povera, and conceptualism,
though My Way also refers to his
interest in movementtravel, transformation, transmutation, and rites
of passage. Featured works include
embellished heraldic banners, magical environments sparkling with
Murano glass and precious stones,
and magnified necklaces and knots
that conjure a personal mythology
while evoking a fairy-tale universe.
Aiming to transcend the realm of the
mundane, Othoniel likes to give
visitors the impression that they are
alone with the work in an enclosed
Garden of Eden, an exotic seraglio
somewhere outside of this world.
Tel: 718.638.5000
Web site
<www.brooklynmuseum.org>
City Hall Park
New York
Common Ground
Through November 30, 2012
Common Ground brings together
works by 10 international artists
who approach the public realm with
originality, critical vision, and a

sense of artistic responsibility. Even


such worn-out traditional forms
as the classical statue, stone-carved
text, and the heroic monument find
new relevance once theyve been
co-opted into functioning as tools of
the commons or reinvented through
a dose of irony and satire. Whether
overtly politicized or not, these participatory and frequently performative anti-monuments cant help
but raise a new civic consciousness,
questioning the dynamics of power
and servitude, permanence and
transience, us and them. To whom
does public space belong? What
is its legimate use? Elmgreen &
Dragset, Ian Hamilton Finlay, Roger
Hiorns, Jenny Holzer, Matthew Day
Jackson, Christian Jankowski, Justin
Matherly, Paul McCarthy, Amalia
Pica, and Thomas Schtte all offer
outlets for individual reflection and
collective moments of expression
that escape prescribed social control.
Tel: 212.980.4575
Web site
<www.publicartfund.org>

WOOD: COURTESY THE ARTIST / OTHONIEL: JEAN-MICHEL OTHONIEL/ADAGP, PARIS 2012 / PICA: JASON WYCHE, COURTESY PUBLIC ART FUND, NY

Left: April Wood, Feeding the Hunger 10. Bottom left: Jean-Michel

Contemporary Arts Center


Cincinnati
Green Acres
Through January 20, 2013
Building on Ecovention, and
Beyond Green, the CACs new ecoconscious exhibition, Green Acres,
celebrates the revolutionary history
of farming as art. For 40 years,
artists from around the world have
transformed fields, abandoned lots,
city streets, and gallery spaces into

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FUTUREFARMERS: COURTESY THE ARTISTS / MOULENE: BILL JACOBSON, NY / CAI: WEN-YOU CAI, COURTESY CAI STUDIO

Above: Futurefarmers, Slow Food


Nation Victory Garden, from Green
Acres. Top right: Jean-Luc Moulne,
Body. Right: Cai Guo-Qiang, ignition
of gunpowder drawing from A Clan
of Boats.

fiberglass, and wood constructions


(some handmade and some industrially manufactured) that together
undo predictable classifications
of figuration and abstraction while
complicating the impulse to impose
representational or metaphorical
identity on objects. In addition to
the + One at Beaconthe monumental La Vigie (a series of 299 photographs documenting changes in
a Paris neighborhood through the
persistent growth of Paulownia
tomentosa volunteers)the show
includes a group of newly commissioned wall objects at the Dan Flavin
Art Institute.
Tel: 845.440.0100
Web site <www.diaart.org>
Faurschou Foundation
Copenhagen
Cai Guo-Qiang
Through December 7, 2012
Cais explosion events, gunpowder
drawings, and installations unfold
spatially and temporally in exquisite
partnerings of intention and chance
that allow nature to take its course
and the artist to make the most
of any given situation. Frequently
ephemeral and illusory in nature
(even when constructed of solid

materials), these works conjure a


complex web of conceptual and
material allusions, from astrophysics,
natural processes, and supernatural fantasy to cultural exchange,
trade, and pilgrimage. Running
through all of these diverse forms
and interests is the desire to understand transformationhow the visible world communicates with
unseen energies. This show features
a new series of gunpowder drawings inspired by the landscape,
culture, and history of Denmark, as
well as Reflection, the remains of
a wrecked Japanese fishing boat run
aground on seven tons of Chinese
porcelain shards. As in all of Cais
work, the impact here is immediate,
the meaning lingering.
Tel: + 45 33 91 41 31
Web site <http://faurschou.com>

Indianapolis Museum of Art


Indianapolis
Alyson Shotz
Through January 6, 2012
For Shotz, the job of sculpture is to
explore the invisible forces of nature.
Commonplace materials such as
piano wire, glass beads, straight pins,
mirrors, and plastic lenses reveal
the basic workings of the physical
worldthrough light, gravity, and
spaceand hint at their mysteries.
Geometry of Light, her newly adapted
installation, considers the dual
nature of light as both particle and
wave. Cascades of glass beads and
hand-cut Fresnel lenses (magnifying
lenses ridged with concentric circles
to focus light) capture natural light
at varying angles and intensities
throughout the day. These concentrated moments allow just a glimpse
into the nature of light stopped
in time, while revealing how our

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fertile sites of creative and vegetal


productivity. Agnes Denes, the
Harrisons, Patricia Johanson, Mara
Adamitz Scrupe, Bonnie Ora Sherk,
Futurefarmers, Anya Gallaccio, J.J.
McCracken, N55, Permaganic Eco
Garden, and Tattfoo Tan, among others featured here, continue to inspire
activism by example. With a working farm inside the gallery, a farm
stand in the lobby, sculptures used
for farming, videos, installations,
and satellite projects throughout
the city, Green Acres covers every
approach to this growing field.
Tel: 513.345.8400
Web site
<www.contemporaryartscenter.org>
Dia:Beacon
Beacon, New York
Jean-Luc Moulne
Through December 31, 2012
Moulne, who moves fluidly
between sculpture, photography,
drawing, and printed matter, thinks
of his work as one continuous performance in which he collects, rearranges, and reframes the reality
of his surroundings. For 30 years, he
has struggled to liberate the language of art from consensus and literalness, to create something that
goes beyond static categorization.
Opus + One, a title that blends
mathematical recurrence with the
idiom of advertising, features more
than 35 works from the Opus
seriesbronze, cardboard, cement,

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itinerary

Above: Alyson Shotz, Geometry of


Light. Left: Anna Betbeze, Veil. Top
right: Michelangelo Pistoletto and
Cittadellarte, Tavolo Mediterraneo
Love Difference. Right: Marisa Merz,
Untitled.

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disciplinary laboratory and its satellites, all fostering intellectual,


political, and social dialogues that
put subversion to positive use.
Tel: + 43 316 8017 9200
Web site
<www.museum-joanneum.at/de/
kunsthaus>
_____
Mass MoCA
North Adams, Massachusetts
Anna Betbeze
Through November 2012
Cutting, tearing, and burning Greek
Flokati carpets with acid dyes, Betbeze creates paintings that verge
on the sculptural. Sagging under
the force of gravity, her transformed
objects enter into a dynamic relationship with negative and surrounding space as they spill off the
wall and onto the floor. Referencing
everything from magic carpets to
the felt sculptures of Robert Morris
and 1970s woven wall hangings,

these seductive, layered works expand


abstraction into the interstices
between dimensional boundaries
while exploring the intersection of
interior and exteriorin relation to
architecture as well as the body. In
an echo of natural cycles of decay
and regeneration, Betbezes process
follows the death of an object with
its rebirth as something new. At this
point of overlap, form and formlessness, the beautiful and the abject,
come together in sometimes jarring
sites for color and material transgressions.
Tel: 413.662.2111
Web site <www.massmoca.org>

SHOTZ: COURTESY INDIANAPOLIS MUSEUM OF ART / BETBEZE: ART EVANS / MERZ: CLAUDIO ABATE

perception of light and motion


shapes the experience of space. A
new digital animation winds time
back up again, visualizing a strange
and beautiful, dawn-to-dusk cycle
of the elemental phenomena behind
creation.
Tel: 317.920.2660
Web site <www.imamuseum.org>

Kunsthaus Graz
Graz, Austria
Cittadellarte
Through January 20, 2013
From the beginning of his career,
Pistoletto has considered participation as the starting point for all
artistic creation. Frustrated by a
world in crisis, sold out by capitalism and betrayed by democracy,
he founded the open network
Cittadellarte in 1998 to demonstrate
a more involved role for the artist
making art in direct interaction
with other areas of human activity.
While acknowledging distinctions
between work, education, environment, communication, art, food,
politics, spirituality, and the economy, Cittadellarte finds a common
area of activism and inspiration
across these spheres. Seeking to
create new models of participatory
civil society, Pistoletto and his
collaborators hope to give a positive
answer to the question: What can
art really achieve? This show features current work from the inter-

MAXXI
Rome
Regarding Marisa Merz
Through January 6, 2013
Marisa Merz once said, There has
never been any division between
my life and my work. The sole

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FAVINI: CLAUDIO CRAVERO, PAV 2012 / HEHE: COURTESY THE ARTISTS / WINTERLING: COURTESY THE ARTIST AND JESSICA SILVERMAN GALLERY, SAN FRANCISCO

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woman among the men of Arte


Povera, she has given its philosophy
a decidedly personal, feminist twist,
focusing on practices traditionally
associated with home and hearth.
The knitted copper, aluminum foil,
wax paper, and paraffin wax of her
sculptures (some intended for display in her house) inject a powerful
dose of everyday intimacies into the
glossy sterilities of fine art. This show
focuses on a recent untitled installation (200910) that draws together
all of her gestures and materials;
from there, it follows the various
paths of Merzs influence. Works by
Rosa Barba, Elisabetta Benassi,
Alighiero Boetti, Claudia Losi, Paola
Pivi, Rosemarie Trockel, Kara Walker,
and Franz West, among others,
trace the reach of an approach that
creates resonance from little more
than elementary action, ordinary
materials, and the will to navigate
a changing and unpredictable creative universe.
Tel: + 39 (0) 6 39967350
Web site
<www.fondazionemaxxi.it>

Above: Ettore Favini, I 48 soli (The


48 suns). Top right: HeHe, Air de
Londres. Both from The Sun Behind
the Clouds. Right: Susanne M.
Winterling, The Dip of Generosity,
from A Disagreeable Object.

Parco Arte Vivente


Turin
The Sun Behind the Clouds:
Ettore Favini and HeHe
Through January 13, 2013
Manipulators of ideas and objects,
Favini and HeHe interpret environmental hazards through their social
and ethical consequences. Designed
to react in concert with natural phenomena and manmade conditions,
their charged interventions, installations, and public actions give visual
form to intangible factors influencing
the quality of life on earth. Here, the
Italian artist and the French-based
duo both start with a creative exploration of the sun and clouds and
rapidly progress into critical reflections on human behavior. Favini
presents the results of his year-long
survey of the mother star, which

began at PAV in 2011; his interrogation of time and memory ends with
the possibility of transforming the
art centers facilities into a self-sufficient, solar-powered system. HeHes
toxically beautiful Man Made Clouds
takes a bleaker view, leaving the
nagging sensation that humanitys
attempts to produce energy by whatever means necessary are becoming
increasingly destructive, and unlikely
to change.
Tel: + 39 011 3182235
Web site
<www.parcoartevivente.it>

SculptureCenter
Long Island City, New York
A Disagreeable Object
Through November 26, 2012
Taking its title from Giacomettis
sculptures, A Disagreeable Object
explores desire and repulsion, the
familiar and the unfamiliar. Like the
Surrealist object, which operated
beyond its status as an artwork and
responded directly to social and cultural attitudes, these recent works
move into the spheres of capitalist
culture and technology, as well as
the gendered zones between interior

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itinerary

Anicka Yi give new life to old strategies like the uncanny and the
informe, examining present-day relations of the economy, the body,
domesticity, technology, and eros
through the lens of visceral paradox
and obscene disorder.
Tel: 718.361.1750
Web site
<www.sculpture-center.org>

and exterior space. Participating


artists Alisa Baremboym, Alexandra
Bircken, Ian Cheng, Talia Chetrit,
Martin Soto Climent, FOS, Aneta
Grzeszykowska, Camille Henrot,
Alicja Kwade, Charles Long, Sarah

Lucas, Ann Cathrin November


Hibo, Laura Riboli, Matthew Ronay,
Pamela Rosenkranz, Michael E.
Smith, Johannes VanDerBeek, Andro
Wekua, Susanne M. Winterling, and

Suyama Space
Seattle
Gail Grinnell
Through December 7, 2012
Grinnells densely constructed, gossamer installations conjoin earthly
corporeality and ethereal spirit.
Using dressmaking patterns inherited from her mother, she structures
spatial bodies out of stiffened,
translucent fabric that accepts color,

stain (from coffee and tea), and


sumi ink lines. Fragile and transitory,
her web-like environments spin
remnants of ordinary human activity into otherworldly landscapes
imprinted with the inner workings
of the body (intestinal coils, bones,
tendons, blood vessels) and the
structural elements of clothing (necklines, zippers, pleats). Metaphors
for the mismatched, continually
altered plans and desires that make
up life, these works grow from
design subject to contingency. RUFFLE continues her investigation
into the creative body, combining
theatrical experience with absorbing meditation on the archaeology
of human nature.
Tel: 206.256.0809
Web site
<www.suyamaspace.org>

COURTESY THE ARTIST

Gail Grinnell, RUFFLE.

____________

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_________________

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commissions

UP Projects
London

Left: London Fieldworks, Spontaneous City in the Tree of Heaven, 2010. From UP

In downtown London, a life-size ballerina with a globe for a head


and wearing a Dutch wax tutu twirls sideways in a glass bubble on
the faade of the Royal Opera House. Meanwhile, at the Duncan
Terrace Gardens only a couple of miles away, birdhouse condos
reminiscent of neighboring human dwellings envelop tree trunks
and branches. Yinka Shonibares Globe Head Ballerina and London
Fieldworks Spontaneous City in the Tree of Heaven are only two
of the most recent projects curated and produced by UP Projects
since the organizations founding 10 years ago.
UP Projects first artistic intervention took place in 2002 at the
then-abandoned St Pancras Chambers, formerly the Midland Grand
Hotel, the most lavish hotel in Victorian London. The organization invited emerging and established artistsincluding a number

with Circular Cut-Out Variation H, 2008. From UP Projects Portavilion series.

of YBAsto transform the long-forgotten and dilapidated space.


The exhibition gained immediate popularity, inspiring UP
Projects founder and curator Emma Underhill to continue bringing
public art to a wider audience.
Over the years, UP Projects has aspired to facilitate not only
public, but also easily accessible endeavors. Its most successful
projects have been participatory, mobile, or both. For the particularly memorable Laid to Rest, Serena Korda made 500 commemorative bricks out of dust that she collected from local houses
and businesses. Inspired by Victorian Londons commercialization
of wasteprofiteers started making bricks out of dust heapsthe
year-long project also included choral and dance performances
and dustercise workshops before culminating in a horse-drawn
procession and burial of the bricks, returning them to the earth
from where they came.
UP Projects launched its longest-lasting and most popular project
series, Portavilion, in 2008. The portable pavilions, designed by
Dan Graham, Toby Patterson, Annika Eriksson, Monika Sosnowska,
and raumlaborberlin, among others, also incorporate free public
events, notably dance performances and workshops, within their
spaces. Most recently, Nina Pope and Karen Guthrie (known collectively as Somewhere) teamed up with architects Studio Weave
to create The Floating Cinema, a small portavilion that navigated
Londons waterways while projecting films in its cozy movie house
interior. The project was so popular that it is scheduled to return
next year with a newly designed floating cinema space.
Serena Korda, Laid to Rest, 2011. Palette of engraved bricks, video installation,
and vinyl text catalogue board.

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KORDA: WELLCOME IMAGES / ALL: COURTESY UP PROJECTS

Projects The Secret Garden Project. Above: Dan Graham, Triangular Pavilion

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This past summer, UP Projects, like other London art groups,


arranged a number of artworks in conjunction with the Olympics.
(The Floating Cinema and Shonibares ballerina played a role
in the celebrations.) UP Projects more subtle undertakings, though,
are often the most compelling. The Secret Garden Project, for
instance, celebrates Londons lesser-known green spaces with a
floating island garden by Tania Kovats in Regents Canal, a mobile
picnic pavilion, and literary nature walks, in addition to London
Fieldworks birdhouse condos. With a variety of interactive, localized projects catering to a wide array of people, UP Projects continues to make public art ever more accessible to the general public.

COURTESY IN CERTAIN PLACES

In Certain Places
Preston, U.K.
Far from the hubbub of London, Preston is small city of fewer than
150,000 people on the north bank of the River Ribble in Lancashire.
Although the area has a settlement history dating back to the
Romans, Preston did not obtain city status until 2002, when it
became Englands 50th city for the 50th year of Queen Elizabeth IIs
reign. A year later, the University of Central Lancashire and the
Harris Museum and Art Gallery joined together to create In Certain
Places. Dedicated to the programming of temporary public artworks
and events, In Certain Places commissions projects from local and
international artists, hosts residencies, and organizes programs for
city residents.
Jeppe Heins Appearing Rooms (2006), one of In Certain Places
most successful projects, transformed Prestons central square from
a short-cut to other destinations into a true public gathering
space. Hein describes his work as a programmed water pavilion,
where the participating public suddenly becomes trapped in a
labyrinth of water walls, rising and falling and randomly dividing
the space into rooms. Originally created in 2004 for Passariano,
Italy, Appearing Rooms followed its stay in Preston with appearances in London, Basel, Switzerland, and Zaragoza, Spain.
In 2009, In Certain Places sponsored In The Shops Now!, a residency that provided visiting artists with the opportunity to transform empty shops in Prestons city center. While most participating
artists constructed installations and decorated storefronts, Teresa
and Dominique Hodgson-Holt transformed their space into a
strange thrift store, where all of the clothing was red. They then
invited residents to temporarily exchange their own clothes for the
red outfits and walk together through the streets of Preston in an
impromptu red flash mob. Pleased by the projects outcome, the
artists took Red on tour to other cities in the region at the end of
their residency.
The city of Preston had a rare 15 minutes of fame last September,
when it hosted its Preston Guild festival. Held once every 20 years

Above: Jeppe Hein, Appearing Rooms, 2006. Water, wood, iron grating, jets,
electrical pumps, and computer controller, 230 x 700 x 700 cm. Below: Teresa
and Dominique Hodgson-Holt, Red, 2009. Performance in Preston, U.K.

since 1179, the festival celebrates the towns first royal charter and
the founding of the merchant guild that so greatly contributed
to the areas economic development. For the weeklong festival, In
Certain Places organized projects ranging from stories at the train
station and a subculture parade to a science fiction film and a new
kind of beer made especially for Preston. With In Certain Places
holding the reins, public art in Englands newest city continues to
flourish.
Elena Goukassian

Juries are convened each month to select works for Commissions. Information on recently completed commissions, along with high-resolution
digital images (300 dpi at 4 x 5 in. minimum), should be sent to: Commissions, Sculpture, 1633 Connecticut Avenue NW, 4th Floor, Washington,
DC 20009. E-mail <elena@sculpture.org>.
___________

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Personal
Histories
A Conversation with

BY SANDRA WAGNER

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Fallen Star, 2012. Steel-frame


brick chimney, garden, lawn
chairs and table, hibachi-style
grill, bird bath, and bird house,
approx. 15 x 18 ft. View of work
at the Stuart Collection, San
Diego.

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PHILIPP SCHOLZ RITTERMANN

house, concrete foundation,

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Do Ho Suhs Fallen Star is a 70-ton house


teetering off the roof of the Engineering
School at the University of California San
Diego (UCSD). Living and working in New
York, London, and Seoul, Suh has created
a body of work that consistently addresses
tensionbetween home and migration,
individual and collective, reality and illusion.
Fallen Star, which is the most recent addition to UCSDs Stuart Collection, expresses
all of these dichotomies. From its seventhfloor access, a brick path curves through
a garden to the front door. Suh torqued the
charmingly furnished, 270-square-foot,
single-room house, leaving visitors to negotiate and renegotiate their balance across
the skewed space. His other recent public
projects include Grass Roots Square, commissioned by the Norwegian government
for the city of Oslo, and Cause and Effect
at Western Washington University in Bellingham, Washington, which also awarded
him an honorary doctorate. Perfect
Home, a solo exhibition of architectural
pieces at the 21st Century Museum of Contemporary Art in Kanazawa, Japan, opens
on November 4 and runs through March
17, 2013.

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Fallen Star, 2012. View of work at the Stuart Collection, University of California, San
Diego.

Sandra Wagner: Youve explored the notion of home for some time, since your
move from Seoul to the United States for school. How have your notions of
home, longing, and memory progressed from early works, such as Seoul
Home/LA Home/New York Home (1999), to Fallen Star (2012)?
Do Ho Suh: Moving to the U.S. was one of the most difficult, and important,
experiences in my life. The idea of displacement, however, had been with
me since my childhood. The traditional Korean-style house in which I grew
up has always been a starting point and motif for my projects. It was built
in the 70s, when everything in Korea was moving toward Westernization
and new construction was very modern. My parents revisited the past when
they constructed a traditional house. Every day when I left for school, I entered
a completely different world. My parents home is a very special place, almost
like a secret garden. It feels as though it exists in a different time. So, from
a young age, I had a sense of cultural displacement from within Korean culture. This feeling stayed with me, and I think that it became accentuated
when I went to the U.S.
Ive obviously been dealing with personal experiences in my work, and I
use materials with which I am familiar, but my aim is always for viewers to
reflect their own lives in my piece and not for it to be about my life. I think
thats why I felt very comfortable using an East Coast-style cottage for this
version of Fallen Star. Its the first time that I havent used my own home, but,
for me, the notion of home is broad and general. Fallen Star doesnt feel different from my other projectsIve been working very slowly and steadily
with the same idea.
SW: At first you used transparent and transportable fabric with the idea of
walking the housedisassembling a traditional Korean house and rebuilding
it in a different location. Has anything changed with the solid, site-specific
structures, such as Fallen Star?
DHS: I always wanted to deal with solid materials and make a real house. The
fabric pieces came down, at least in part, to practical concerns of creating
something transportable. Also, I could not afford to make a house in real
materials when I was at school, so I identified fabric that I could use on a
1:1 scale. For an art student or somebody just out of art school, the cost of
making and shipping a house piece is prohibitive, so fabric was the perfect
material to pack in my suitcase and carry with me. It was all related to my
situation when I was making the pieces, and that has changed over the years.

PHILIPP SCHOLZ RITTERMANN

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Net-Work, 2010. Gold and chrome-plated plastic figures on fishing net. View of installation at Setouchi

DO HO SUH, COURTESY THE ARTIST AND LEHMANN MAUPIN GALLERY, NY

International Art Festival.

When the Stuart Collection project came about, their amazing program helped me to
finally realize a much earlier idea in different materials.
SW: Your fabric works began as independent structures, such as Staircase (2003) and
Reflection (200511). Why did you start making works that became part of other architectural structures?
DHS: All my work is site-specific, so I never see my pieces as independent structures. One
way or another, you have to deal with the site, both physically and psychologically. I
think that the fabric pieces and Fallen Star at UCSD have the same intention. In Fallen
Star, for example, two buildings are literally connected. Two different spaces are blended
into each other. I have been focused on blurring boundaries in my work. When you use
fabric, especially translucent fabric, a similar thing happens because of the boundary
between my piece and the space around it. The piece is surrounded, encapsulated, by
architecturewhether its a museum, gallery, or other space. The boundary between
the two becomes more blurred because you can see the surrounding architecture through
the fabric; its hard to define where the piece belongs.

SW: You mentioned how your work interacts with viewers, how they can take what
they want from it. What was the reaction
to Fallen Star? Did international students
on campus respond differently?
DHS: I received a lot of comments from
UCSD students and the university community, especially the foreign students. They
responded immediately with, Oh, I completely get it. I think the strength and intensity of the responses differed depending on
where people were from.
SW: You live in London now. Does that city
have a different influence on your work
than New York or Seoul?
DHS: I dont think living in London has
changed anything in terms of my work yet,
though it has made the notion of home
more complicated. London is a completely
different type of home, and I never
had anything like it. Seoul is my childhood
home, but its my parents place. My New
York home signified work; I spent most
of my time there struggling to become
an independent artist. My London home
is different again, because its about having
my own family and becoming a parent.
Each home has served a difference purpose.
It will take some time for the experience
of these three homes, and having my own
family in London, to influence how I think
about life itself. One way or another, it will
appear in my work, but its too soon to see it.
SW: Net-Work (2010), a fishing net formed
of gold and silver human figures stretched
over a large metal frame, was installed on
the shore in Japan, with waves washing
some of the figures away. What ideas were
you exploring, and where is Net-Work now?
DHS: That piece was made for the
Setouchi International Art Festival, which
is set around a series of islands. I wanted
to make something inspired by a typical
Japanese fishing village, something that
blended into the landscape and seascape.
If the fishermen arent out at sea, theyre
mending their nets. That image inspired
me. From a distance, Net-Work looks like
any fishing net, but when you get closer,
you realize that it is not an ordinary net.
The most important aspects of this project were about collaboration and how the
piece interacted with nature. It was partially assembled in my studio and then

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Above and detail: GateSeattle Version, 2011.


Fabric, stainless steel, and projections, 156 x 298

brought to Japan. For the festival, the local


villagers formed a task force called Small
Shrimps. About 20 older women and students volunteered to help to make this sitespecific piece. We spent about a week assembling and installing it. I have a great picture
of some of them sitting on the net and
putting the panels together. It looks like a
very ordinary scene from a fishing village,
but when you see the figures, the people
naturally became a part of the piece.
Another important part was working with
the raw elements, with nature. The show
was installed from July through November,
and during that period, the region experienced 30 typhoons. I had never dealt with
the tide beforethe waves and the wind
animated the piece. I would have been
quite happy if the typhoon had taken my
piece away. That would have been a very
beautiful gesture. But the organizer wanted
to secure the piece, so there was a constant
battle between us during the installation.
The piece remained through the end of the
festival, but some of the figures were lost
when the waves hit it. It was quite challenging in that sense, because it was not

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like anything I had ever made. The piece went back to my studio. Seaweed and debris
had collected at the bottom, and the chrome plating on the plastic figures had worn
down, so it has a nice aged look. It was featured in my solo show at the Hiroshima City
Museum of Contemporary Art, which just closed in October.
SW: GateSeattle Version (2011), commissioned for the Seattle Art Museum (SAM), is
quite different since it incorporates sound and visual projections on fabric, but it still
reproduces the gate of your childhood home.
DHS: Yes, thats the gate I had to pass through every day to go outside the house.
SW: Viewers can walk through this small fabric gate, which hangs from the ceiling. A
scrim extending from its outer edges creates a wall for the projections, which include
images of branches being painted, birds flying, and an illusionistic re-creation of a traditional Korean gate and house. What did you want to achieve with this multimedia
approach?

NATHANIEL WILLSON, DO HO SUH, COURTESY THE ARTIST AND LEHMANN MAUPIN GALLERY, NY

x 42 in. View of work at the Seattle Art Museum.

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MATTHEW ANDERSON, DO HO SUH

DHS: Even though people came to know my


work through the fabric sculptures, my first
solo show after graduate school in 1998 was
a video installation at the NTT Intercommunication Center in Tokyo. So, working with
multimedia was not completely new for me.
I just didnt have a chance to do more of
it before.
When SAM commissioned Gate, it gave
me a great opportunity to deal with the
museum as a context, a background, for
my work. I looked through all of the pieces
in SAMs Asian art collection and had a
really long discussion with the curator,
Catherine Roche. The piece came out of
that ongoing dialogue. Back in Korea, I
was trained as a traditional painter, so I
have a little knowledge of Asian art history
and theories. Using images from the collection, I made an animation and projected
it onto Gate. It may look quite different
from what I have done before, but it was
something I had always wanted to do.
SW: Can you describe how Cause and Effect
(2012), the work at Western Washington
University, addresses the idea of destiny
and fate? Why did you think it would work
well in the Academic Instructional Center?
DHS: I realized that when it comes to public art, artists sometimes forget about who
is going to look at a work and who is going
to use the space. Im always interested in
making something that reflects the people
who use the space. Cause and Effect was
not a new pieceIve made different variationsbut I felt that it was appropriate
for the space and in the context of a
university where students come from lots
of different places to study.
A university is a place for learning, and
the piece is about what is inherited from
your ancestors. Biology, genetics, history,
and knowledge can all be passed on to you
from previous generations. These things
could be heritage or a huge burden; even
if were not aware of them, were not completely free from them. They are something
already written. Cause and Effect and NetWork deal with similar issues. Theres a
tension between you being an individual
Cause and Effect, 2012. Aluminum and acrylic,
approx. 19 ft. high. Work at Western Washington
University.

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Above and left: Grass Roots Square, 2012. 2 details of instal-

and being caught in a web of relationships or histories.


These are things that you cannot see and are unable
to escape from.
SW: Youve just returned from Norway, where your work,
Grass Roots Square, was installed in the middle of Oslos
Government Complex. In addition to a tree, thousands
of small human figures in green-patinated bronze
create a geometric pattern across the square. Can you
discuss the projects approach to issues of power and
the idea of the collective versus the individual?
DHS: Its a very good example of my interest in public
space and what public art should be about. Some pieces,
like Fallen Star and Cause and Effect, are more obvious
than others, but they all challenge the notion of conventional public art through their orientation or materials.

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BOTTOM: DO HO SUH, COURTESY THE ARTIST AND PUBLIC ART NORWAYKORO

lation at Government Building Complex Part 6, KORO, Oslo.

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TROND A. ISAKSEN, DO HO SUH, COURTESY THE ARTIST AND PUBLIC ART NORWAYKORO

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Pretty much every public art piece Ive made is an anti-monument. Grass Roots
Square is not on a pedestal, not at eye level. You can step on it and walk on
it. That relationship between viewer and artwork is quite different from
what usually happens in public art. Viewers have to have a completely different relationship with the piece, so their way of looking at art has to change.
The Grass Roots Square tiles say that its not really about one individual, but
about the people. Its quite modest and humble. Its low, with no center of
focus, and I think thats more democratic. The only component of the plaza
that stands out is a tree that I planted; the sculptural elements are all very
peripheral. They disappear into the rest of the plaza, and from a distance you
dont know what they are. The figures look like grass growing out of the flagstones, until you get closer and the work reveals itself. I got the idea when I
was walking in a little village in Italy and saw grass between the pavement
cobbles. I replaced the grass with little figures, some of whom support the
flagstones. Some of the stones look like they are broken off where the figures
appear in a packed formation. All of the figures are in different scales. I used
500 different types of people, and the entire piece took 40,000 figures. All are
cast individually and welded together. Grass Roots Square was possible in Norway

because they have a strong public art program with


a long history. My piece was quite impractical because of
its fragility. If you start off worried about maintenance or
vandalism, you cant have a work like this. They were
really open and brave to accept my proposal.
SW: What are you doing for the 2012 Gwangju Biennale?
DHS: I have two major new pieces for Gwangju. The
city has an interesting public art event called Follies
Project, which is about non-functional structures. They
have invited architects from all over the world and
artists like Ai Weiwei, and I was invited to do something this year. My project is a transportable hotel that
parks between buildings. Its a very small, one-room,
fully functional hotel that requires a lot of generosity
and volunteer support. It travels around the city, so
guests can explore Gwangju from the inside. Its a huge
project, almost like a social sculpture thats also public
art. Again, it changes the notion of architecture, which
is meant to be stationarythis is a building that moves.
The site is the entire city,not any specific location.
Ive been collaborating with different teams of architects. One team is researching all of the alleyways and
in-between buildings and creating a map of potential
sites for the hotel. You also have to have permission
from the people who use the neighboring buildings.
The designs for the hotel were completed a couple
of days ago, and were working with Kia Motors on the
construction. Were trying to bring a lot of people into
this project. For example, if the hotel parks in a neighborhood where theres a bakery, maybe the owners
could donate breakfast for the person using the hotel.
Perhaps someone could offer a traditional Korean meal,
or maybe a nearby major hotel could provide housekeeping service. Its going to be a challenge. I dont
know how this project is going to evolve, or if local citizens will be interested in it. Once it gets going, I imagine that it will have a life of its own.
The other piece is called Rubbing Project. Sheets of
paper will cover an entire room, and the paper will be
rubbed with colored pencil or graphite to reveal whats
underneath. Im undertaking this process inside three
different rooms in three different buildings in the old
part of Gwangju. Rubbing entire rooms will get the texture of the space before the paper is transferred into
the biennale exhibition space. New development in
Gwangju is changing the center of the city. The derelict
buildings that I have chosen possess untold stories. I
am interested in how we remember, the process of historicizing and how a personal story becomes history.
My hope is to reveal hidden histories with the gentle
caressing gesture of rubbing before these spaces and
their stories disappear.
Sandra Wagner is a writer living in Los Angeles.

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Foon Sham
Crafting
Dialogues

COURTESY PROJECT 4

BY ANETA GEORGIEVSKA-SHINE

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Above and detail: Canyon of Salt, 2012. Hickory and salt, 35 x 88 x 72 in.

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One of the hallmarks of Foon Shams


sculptural language is his ability to cultivate a fine line between the dictates of his
materials and methods and the specific
context of his work. Another, which has
shaped his career both as a practicing
artist and as a teacher, is his dual perspective on the importance of history in his
work: fully informed by tradition, he is,
nonetheless, remarkably unburdened by
its ballast. Though this Chinese-born and
Washington, DC-based sculptor has always
shown great sensitivity to dominant modes
of sculpture, he has been consistently
able to step aside from the mainstream in
order to address his interests in a deeply
individual manner, regardless of the currency of the moment.
His favorite medium is humble, yet versatile wood. Throughout his career, he has
explored the formal properties of this elemental material in sculptural compositions that invariably highlight the process
of their own becoming. The structures
that he develops often suggest a search
for the geometric underpinnings of nature
or for the origins of the human desire to
rationalize its morphology. Typically, this

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Left: Curve, 2010. Cedar, 120 x 48 x 58 in. Above: The House of Identity, 2006. Wood, phone books, rice
paper, and ink, 7.5 x 7.5 x 11 ft.

inner geometry is brought out through a methodical application of controlled gestures,


from cutting and sawing to stacking, laminating, and assembling a myriad of small pieces
together into seemingly self-generated forms. His most recognizable works in this manner are the various large- and small-scale vessels or vascular compositions fashioned
either for specific sites or as freestanding indoor or outdoor sculptures.
Curve (2010), a 10-foot construction of cedar blocks stacked on top of one another in
a disarmingly simple, yet subtly intricate fashion, exemplifies this approach. Like many
of Shams larger works, Curve invites viewers to experience the dynamic relationship
between its exterior and interior facets by walking around and into the form itself. This
process encourages contemplation of how the manmade and the industrial can approximate the unmediated agency of naturecalling to mind the central idea of Tao about
interconnectedness in the phenomenal world. Curve took on a particular resonance during
its most recent presentation. Prominently placed in front of the entrance to the River Inn
Hotel for the Washington, DC, group show Sculpting Outside the Line (2012), this
fragile, organic structure composed of almost a thousand thin cedar blocks became
a potent metaphor for the illusion of permanence associated with the notion of home
or shelter.
The same internal dialogue between an urge to order the irregular and an equally
strong desire to follow the accidental qualities of nature and its unpredictable energies
is just as meaningfully conveyed in smaller works such as Drift of Life (2006). Here, what
begins as a statement of mastery over nature, expressed through a skillful stacking of
curved walnut and mahogany blocks into a tower-like shape, gives way to a counter-claim
about the disorderly forces of life. A single, ostensibly dead piece of driftwood protrudes,
flame-like, from the hollow core of the column, causing it to split under the pressure
of its surprising vitality.

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View of exhibition at Project 4 Art+Space, Washing-

COURTESY THE ARTIST / BOTTOM: COURTESY PROJECT 4

ton, DC, 2012.

Though Sham is continually drawn to


intersections between the natural and the
manmade, a closer look at his recent work
reveals several interrelated, yet varied
approaches to this theme. In a recent series
of cube-like structures that he calls phone
books, evocative forms are composed
by layering of evenly cut pieces of wood in
different tones, textures, and sizes, interspersed with sections of phone books whose
individual pages have been laminated
together to form impermeable blocks.
The results of this process fall somewhere
between finely crafted intarsia and Dada
collage. They seem to grown in complexity
as one explores their surfaces and discovers unexpected affinities between the
wood-grain patterns and the cross-sections
of the phone books, those near-obsolete
repositories of personal data, recovered for
a different purpose and merged again with
their source material.
Another, equally imaginative exploration
of the meeting points between the currents
of nature and the paths of man has led to
a series titled life-prints, in which Sham
zooms in on the irregular shapes of growth
lines present in wood panels (tablets) and
uses them as points of departure for pencil
drawings that overflow onto a surrounding
paper surface. Once again, we see his
interest in the wood/paper dialectic and
the constant transformation of substances,
either through natural processes or willed
by artistic gesture. The real growth lines
are juxtaposed with those that might have
occurred or that were likely present before
the felling of the tree. Part archaeological
reconstruction and part poetic musing on
the cycles of life, these assemblages invoke
additional imagery, from microcosmic structures observable only with the aid of magnifying lenses to maps that compress and
rationalize expanses whose patterns can
only be seen from impossible distances.
Shams recent exhibition at Project 4
Art+Space dramatically highlighted all
of these concerns. Its focal point was the
Aim High, 2012. Plexiglas, sawdust, and hardware,
72 x 48 x 48 in.

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Top and detail: Vessel of Green, 2012. Pine, aluminum flashing, grass, and
soil, 41 x 86 x 84 in.

site-specific installation Aim High (2012), a circular mound of graduated disks that seemed to grow ever so gently from the gallery
floor as visitors standing on the balcony above tossed handfuls of
colored sawdust down over its gently cascading walls. While the
gossamer-like layers of sawdust may invoke the traditional Asian
use of this material for dry lacquer, the ephemeral quality is even
more reminiscent of sand mandalasthose painstakingly crafted
forms brought into being only to be destroyed in an affirmation of
the passing of all things. The most compelling aspect of this subtly
changing piece was its unpredictabilityneither the artist, nor
the audience knew how the handfuls of sawdust would affect
texture and hue. As Sham has observed regarding the works allegorical content, no matter how high one may aim, there is very
little one can control.
The same duality of deliberate gesture and chance governs Vessel
of Green (2012), which gives a new twist to a signature element
in Shams vocabulary. Here, the characteristic vessel of wood

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tiles stacked at regular intervals is transformed on the inside by


spiraling layers of metal flashing that create an enclosed terracegarden for grass. While clearly alluding to the labor-intensive
practice of rice cultivation on terraced lots carved into mountains,
the beauty of this composition lies in that all-important balance
between the conceptual and the formal, the idea and the material, the planned and the accidental.
Though Shams interest in the conjunction of opposites has been
present ever since the beginning of his career, its fullest expression
to date may be the installation Sea of Hope (200311), whose origins can be traced to 2002, when his mother died from cancer. It
took several months before Sham felt that he could speak of his
grief through a work of art, which he made during a residency in
Victoria, Australia. The personal memorial that grew from this
process took the form of a gracefully curving vessel crafted of small
stacked and laminated pine blocks suspended, somewhat improbably, by unobtrusive metal bars. Harking back to one of the most
recognizable motifs of his Chinese heritagethe spirit boats for
the deadthis vessel was envisioned as an homage that could
encapsulate both personal and artistic identity. What Sham did not
see as he gave shape to this boat, so similar to many of his earlier
works, yet so unlike anything else in terms of its intensely private
message, was how this installation would become a locus for the
memories and wishes of others, people who would, eventually,
become his collaborators.
Even as he was making sketches for the boats first showing at
the Manningham Gallery in Australia, one of his sisters expressed
her wish to also honor their mother. Unable to contribute an
artwork herself, she made a small, white paper boat reminiscent
of the hand-crafted vessels from their childhood and added it to
his piece. Through this gesture, she brought to her brothers work
an allusion to the small paper boats sent afloat in Chinese funerary
rites, each adorned with a votive candle to symbolize the journey
of the dead to their final resting spot. Shams sister then invited
other cancer patients and survivors to contribute their own spiritboats. By the time that Sea of Hope left its first exhibition venue
in 2003, it had grown into a much more complex installation.
Shams spirit-vessel had become a centerpiece surrounded by
more than a hundred paper boats, each one made by a different
person and inscribed with an individual message.
In 2006, the installation was shown in Hong Kong. This time,
instead of a commercial art gallery, it was displayed at the University of Science and Technology, where it was seen by hundreds
of students. In this show, it was complemented by the largest
of the phone book sculptures, The House of Identity (2006). The
two objects related to one another in manifold ways: both combined wood and paper, and both were envisioned as habitats. Yet,
whereas Sea of Hope spoke of ceaseless change, The House of
Identity gave expression to a desire for permanence, however
illusory. Once again, neither the sculptor nor the organizers of
the show could anticipate the eagerness with which passersby
became participants: within days, there were several hundred
more paper boats floating around the original. Many carried
inscriptions commemorating ancestors, in line with the funerary

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Pages, 2009. Phone book and pencil on paper, .25

COURTESY THE ARTIST

x 16.5 x 23.38 in.

spirit-boats, but many others were annotated with wishes, turning what began as
a tribute to the dead into an expression of
hope for the living.
This subtle transformation continued in
Sea of Hopes subsequent Hong Kong
appearances: at the Tsuen Wan Town Hall
in the New Territories (August 31September 14, 2011) and at the Queen Elizabeth
Hospital of Kowloon (September 17October
10, 2011). By this time, the spirit-boat dedicated to Shams mother had generated more
than a thousand little companions. The
ethereal mass of white paper boats covered
the floor in a gently curving shape that
alluded to an imaginary stream of water. In
addition to messages written in various languages, each of these tiny vessels carried a
small load placed by the sculptora cone
of black tea leaves representing the votive
candles of the funerary ghost-boats. The
symbolism of these offerings was heightened
by their allusion to the teas healing properties, the hope, as Sham has noted, that its
anti-oxidants may bring miraculous healing
even from the gravest of diseases. In a more
general sense, the cha of spirit in these
boats calls to mind the goal of the tea ceremony as a ritualto bring the drinkers
body back into balance with nature.
Sea of Hope is Shams most personal
sculptural installation. And yet, he has
paradoxically opened it to co-creators who
range from close relatives to complete
strangers, whom he knows only through
the messages that they leave in their ghostvessels. Each of these boats will continue to
change the original homage to his mother,
inflecting it with a somewhat different
meaning. But then, this acceptance of
impermanence is inherent in the meaning
of the spirit-boat as an object: the funerary
paper vessels disappear, either burned by
the votive candles they carry or slowly
dragged beneath the surface of the water.
In many ways, the dialectic between
presence and absence accords Sea of Hope
authority as an artistic statement about

the ruptures and continuities of being. At the same time, this dialectic sheds additional
light on Shams interest in the workings of memoryan idea central to the phone books
and the life-prints with which Sea of Hope was shown in Hong Kong in 2011.
Like the seeming paradoxes of Tao or Buddhist thought, this unfinished installation
provokes feelings whose mutual relationships promote further reflection rather than offer
definitive answers. These reflections address such perennial questions as the relationship
between artist and audience, individual and collective identities, and the meaning or
meanings of a work of art as it travels through different sites (gallery, university, hospital)
and geographic locations (Australia, Hong Kong, and ultimately, the United States). As Sea
of Hope continues to trace Shams psycho-geography, it also reminds us of the power of
the archetypal form at its center: the vessel that can carry a myriad of messages. It is not
an accident that the first record of paper-folding craft in the European tradition is a
drawing of a small paper boat in a treatise on astronomy (De sphaera mundi, 1490). East
and West may never have been that far from one another. The messages on the paper
fleet around Foon Shams spirit-boat continue to affirm the shared concerns and hopes of
many different individuals, despite the different languages in which they are inscribed.
Aneta Georgievska-Shine is an art historian based in Washington, DC.

Sea of Hope, 200311. Wood, paper, ink, and tea


leaves, dimensions variable.

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The Potency of
Ordinary Objects
A Conversation with

TONI HAFKENSCHEID, COURTESY SUSAN HOBBS GALLERY, TORONTO

Liz Magor

Installation view of Liz Magor: Storage Facilities, 2009,


at the Doris McCarthy Gallery, University of Toronto.

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BY RACHEL ROSENFIELD LAFO

Vancouver-based Liz Magor uses found


materials, often from the domestic
sphere, as a springboard for investigating
the social and emotional life of objects.
In mining their history, use, and relationship to the body, she molds, casts, and
alters them to explore issues of authenticity, replication, consumption, waste,
value, and status. Magor continues this
debate between the real and the simulated in her public artworks. She has
exhibited at Documenta and in the
Sydney and Venice Biennales, and has
had solo exhibitions across Canada. Her
recent solo show, The Mouth and other
storage facilities, premiered at the
Henry Art Gallery in Seattle and traveled
to the Simon Fraser University Gallery in
Burnaby, British Columbia. In 2009, she
received the Audain Prize for Lifetime
Achievement in the Visual Arts. This
month, Magor is exhibiting new work
at Vancouvers Catriona Jeffries Gallery
(November 15December 22).

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Rachel Rosenfield Lafo: Many artists today have cross-disciplinary practices,


working across media boundaries. Youve worked in sculpture, installation, public
art, and photography. Do you consider yourself a sculptor?
Liz Magor: Yes, absolutely. Though I work in different mediums, I approach everything from an object-hood point of view. I like the indistinct boundary between
the art object and ordinary objects, things that arent intended to be art. With
painting and photography, the boundary is more obvious, so the role of the viewer
follows conventional trajectories, concerned with visual or intellectual processes.
With sculpture, theres an address to the body that triggers a general consideration of the physical world.
RRL: Much of your work has been about house, home, and shelter, creating facsimiles and reproductions of cabins, apartments, shacks, places of refuge, discarded food and drink, clothing, and everyday objects. These objects are fraught
with the aftermath of human use and intervention, yet you never depict
the occupants of these places. Is that because you want the viewer to become
the potential subject?
LM: The point is that these places dont have occupants. They are empty and
abandoned.
RRL: Youre interested in opposing tendenciesauthentic and artificial, real and
fabricated, safety and fear, comfort and discomfort, toughness and vulnerability.
Why is it important to investigate both sides of every possibility?
LM: In the process of entertaining contradiction, new insights emerge, insights
that were obscured by the tension of opposing ideas. The other process that will
shake things out is a manipulation of narrative. Narrative enables a belief. If an
account flows without interruption, its easy for a premise to become an assumption, like a truth. If the story is confusing or inconclusive, you cant relax into
the obvious sequence of events.
RRL: Is that why you mix real found objects with the fabricated?
LM: Yes, it helps me explore the range of possible confusions. If a cigarette is
smoked and butted out, and youve got the real butt in your hand, its pretty
disgusting, its garbage. But if I make a mold of that cigarette butt and cast it,
then its different. Its sculpture, and it makes a demand on your attention. Same
image, different status. Many of the cast objects in the Mouth and other storage facilities are taken from dead or finished things that mark the end of one

LEFT: TONI HAFKENSCHEID, COURTESY SUSAN HOBBS GALLERY, TORONTO / RIGHT: SCOTT MASSEY

Left: Stack (Racoon), 2009. Polymerized gypsum, ash, and wood, 58 x 68 x 68 cm. Right: Squirrel (cake), 2008. Pigmented, polymerized gypsum, 7 x 61 x 48 cm.

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Leather Ashtray on Table, 2009. Polymerized gyp-

TONI HAFKENSCHEID, COURTESY SUSAN HOBBS GALLERY, TORONTO

sum, cigarettes, and wood, 57 x 121 x 63.5 cm.

identity and the beginning of another. For


a cigarette, its the end of its allure and the
beginning of its garbage life. For a dead
animal, its the end of quickness and the
beginning of rotting.
In a work like Stack of Trays (2008), I take
things from disparate categories and erase
their differences. Cigarettes, candy, little
dead animals, leftover foodtheyre all
thrown onto the trays and turned into one
thing through the process of casting. They
assume the same identity or status by being
presented as a thing to look at. They go
down to nothing and then come up again
as a design.
I think of the trays as servant objects,
usually overlooked in favor of what they
are carrying. I like things that have complicated lives, like trays, ashtrays, empty
glasses, and discarded wrappers. They are
spent, exhausted, or discarded; somehow
they have lost their status or maybe that
status was never secure. They start out with
a veneer of glamour, but its thin and gets
worn away by hard use. When its over, its
hard to remember that they once had allure.
Ashtrays are especially amazing. Theyre
really just garbage bins for dead cigarettes,
but we make them beautiful, in silver and
crystal, and then we grind dirt into them.
In Leather (ashtray) (2008), the cast leather
jacket is used as an ashtray. In this case,
the cigarette is real, but its been smoked
already, so its dead. Is an object like the
leather jacket more valuable because it has
gone through the long, difficult process of
casting? Or is it more extraordinary because
its such a unique ashtray? Or is the sculpture the big deal? I respond to leather jackets
as luxurious, sensuous garments, so at some
point, I might think of the original jacket
as more wonderful than the cast jacket,
or the cast jacket working as an ashtray,
or the cast jacket/ashtray regarded as art.
RRL: Can you talk about your recent studio
work using found and altered blankets?
LM: Last spring, I wanted to start from
scratch with something that I didnt know
Eatonia, 2011. Wool, fabric, metal, and thread,
145 x 62 x 6 cm.

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Installation view with Racoon, 2008; Tray (stacked lotus), 2007; and Mollys
Reach (detail), 2005.

how to do. I wanted to give mold-making and casting a break, so


I started to buy wool blankets at thrift stores. Not the collectible
ones, but the dirtiest and most moth-eaten. I valued the ones that
had some evidence of repair. The repairs were like little notes,
reminders of the early life of the blanket when it was still needed.
Most of the blankets that I found were quite small, and that may
be one reason why they were thrown out. Contemporary beds are
much bigger. My first thought was: Can the blankets stay alive if
they get bigger, if their holes are repaired, if they get cleaner, if
they try a little harder? What kind of debris is left in a blanket? Dog
hair, cat hair, human hairwhat if I think of these as decorative?
I cut little flakes of silver ribbon and threw them on the blankets
and sewed them where they fell. I valorized all the negatives, like
skin flakes and holes. If there was a stain, I stained it more. I put
all the labels backwards, erasing the marketing, the shops. I accentuated moth holes. I made the blankets bigger by adding pieces
in a very unstrategic way.
RRL: In your recent exhibition at Susan Hobbs Gallery in Toronto,
you showed the blankets on hangers, some still in dry-cleaning
bags. How did you decide on this method of presentation?
LM: With sculpture, theres always the problem of how to show
things. Do you put them on plinths? Ill never do that, never. Do
you put them on the floor? Those two choices, the floor and the
plinth, are so worn out that it forces me to look for other ways.
I didnt have any ideas, so I worked on the blankets as though they
would never have a presentation, as though they would just come
to a home and find a place like any other household object. Until I
could figure it out, I made them as blankets to be used on a bed.
RRL: When you first made them, did you think that you would
display them on beds?
LM: I didnt know. It didnt make sense to say I will display them
on a bed. I had to back up, before the bed. As I worked on them,

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I was running them back and forth to the dry-cleaners. The cleaners
were concerned that they might ruin them, that the dye would
run or more holes would appear. So, when I picked them up, I would
scrutinize them, look them over inch by inch. Looking, with concern and interest, is what we do with artand voila, the bags
became markers of that special condition.
RRL: In addition to earlier public works in Vancouver, including The
Game (1995) and LightShed (2004), youve completed two new
commissions since 2009. Soft Spot, a collaboration with Toronto
artist Wendy Coburn, is installed at the Lois Hole Hospital for
Women in Edmonton, Alberta. Marks was created for the new
Surrey City Centre Library in British Columbia. How does your
approach to public art differ from your studio practice?
LM: Public work is permanently installed; it will be there much
longer than work in a gallery, which might be out for a few weeks,
put away for some years, and then brought out again in a different
context. With public art, I have to do more thinking about the consequences or the outcome before I start. I do the opposite in the
studio, where Im adamant about not starting with a concept. I have
thoughts and ideas, but I dont have a controlling impetus for the
work. Im much more material and process-oriented. In the studio,
Im following my nose or using my intuition. I try to see whats
happening right now, not be planning ahead. Its slow and ruminative. There are failures, but I bear those losses, and Im not accountable to anyone. With public work, theres a teamthe architect, the
fabricator, the public. I want to respond to the team, I need to hear
what theyre saying. I like the energy and power of collaboration,
but I love the self-reliance and risk of studio work more.
RRL: Soft Spot is a giant nest made from stainless steel ribbon,
installed high up on a projecting I-beam. Inside the nest are three
speckled eggs. How did you and Wendy arrive at this concept?
LM: Initially, Wendys image of the nest with eggs was difficult
for me. I tend not to work metaphorically, and I dont like to work
with references or to approach things as symbols. I want to reduce
the number of intellectual steps that you have to take before

TONI HAFKENSCHEID, COURTESY SUSAN HOBBS GALLERY, TORONTO

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Liz Magor and Wendy Coburn, Soft Spot, 2010. Stainless steel ribbon and
painted steel beam, nest: 12 ft. diameter; beam: 40 ft. long.

youre in the artwork. Im trying to say that I prefer the phenomenological to the referential. I want the first and most abiding
encounter with art to be through the body. I dont want to talk
about meaning. If I were to elaborate a huge meaning package at
the beginning, it would preempt what the viewer is willing or able
to do.
With Soft Spot, Wendy and I gradually built up the formal and
physical aspects of the work to the extent that the experience of
looking rivaled or eclipsed the literal notion of the nest and egg.

COURTESY THE ARTIST

Marks, 2011. Silicone rubber, 4 elements, 22 x 60 in. diameter each.

Its way above the road. You have to crane your neck to see this
tangle of steel so precariously perched out there. There are no
branches or twigs or birds or feathers. Maybe its not even a nest.
Its only from the upper floors inside the building that you can
look down and see the eggs. Anyone seeing the work from above
is probably at the business end of the hospital, as patients or medical
staff. Given the inherent stress of their situation, we thought
that the surprise of these beautiful eggs was a deserved reward.
RRL: In Marks, sculptural forms function as seats inside the library.
Did that develop from conversations with the architect, Bing Thom?
LM: Yes, Bing talked about how libraries have evolved from being
strict research and reading rooms. Today, library design encourages
people to relax and feel contemplative in a public space. Since the
1970s, many of my pieces have dealt with the subject of beds, for
sleeping and hiding out, partly because I think that relaxing the
body is necessary for thinking, but also because Im interested in
worry and anxiety and consider sleeping to be a form of escape.
So, I thought of making something that you could lie on in the
library, maybe sink into something soft and spongy.
Eventually, I determined that this sinking would happen before
the forms came to the library, as a record of relaxed bodies. I made
the patterns in the studio using extremely soft, wet clay. Then we
all lay down on them so that the fabric of our clothing, our buttons, zippers, hands, cups, pens, and books left impressions in the
clay. The forms are 60 inches in diameter and cast in matte black
silicone. They are dense-looking, mysterious, and mute. The public
doesnt know what they are. They dont consider them art because
they dont look like anything, but they cant be furniture because
theyre too ugly. People walk up to them and do their own work;
they poke them, kick them, and bounce up and down on them.
Eventually they accept that theyre good for sitting or lying down,
or they leave them and choose a regular seat. In any case, they
get busy with them because Im not telling them anything.
Rachel Rosenfield Lafo is a writer and curator based in Vancouver.

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KEN LUM

It Takes Me
Back
Somewhere
BY GARY PEARSON

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COURTESY CITY OF VANCOUVER

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TREVOR MILLS, VANCOUVER ART GALLERY

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East Van Rules! Sound familiar? Its a fair


bet that at some time in our lives, weve all
attached ourselves to a sporting club, organization, gang, or place and championed
our membership or affiliation. Vive la
Solidarit! Vive la Diffrence! Such declamations might well be ascribed to the
groundswell of public opinion debating the
meanings and merits of Vancouvers controversial public art piece, Monument for East
Vancouver (2010), by Vancouver resident
Ken Lum (recently appointed Director of the
Undergraduate Fine Arts Program at
the University of Pennsylvania). The work
became a flashpoint of allegiance, as illustrated by a random sampling of postings on
the popular blog site VancityBuzz, for example, with East Van Cross dissenters parleying across cultural and ideological divides
with fans. That a public artwork might
engage audiences in such passionate
debate is an accomplishment in itself, and
Lum admits that it caught him by surprise.1
Commissioned by the City of Vancouver, Monument for East Vancouver is an
imposing, 20-meter-high, aluminum and
concrete structure with LED lights that
spell out East Van in the form of a cross.
The piece is located on Clark Drive, near
the Great Northern Way intersection.
Facing west and best seen at night, the
East Van Cross could be likened to a
beacon that signals proximity to the east
side: whether youre beckoned or alerted
by it depends on your opinion of East Vancouver (and your take on the sanctity of
the cross as a symbol). One thing, however,
is clearthis monument does not embrace
the neutrality so esteemed in public art
today. This is not to imply that Lum, whose
storied career includes a considerable history
in sculpture but very few public commissions,
set out to create controversy; the polarized
response to the work suggests that these
circumstances were already in place.
The cultural origins of the East Van
Cross can be traced back to graffiti from
the 1940s, generally believed to have been
created by Italian and/or Greek immigrants.

The tag has been in continuous use since then, making periodic appearances on back-alley
walls, schools, the sides of shops and warehouses, even on tattoos and T-shirts; it often
includes the word rules, a semantic connotation of gang culture that only adds
to its lore. Offensive to some and venerated by others, this DIY logo has become, as Lum
describes, [a] fugitive symbol of East Vancouver as a whole, a reference to the long-established division of the city along class lines.2 Considering the degree of local media and
public attention garnered by Monument for East Vancouver, its not surprising that the
Vancouver Art Gallerys 2011 survey of Lums work occasioned overflow attendance at the
opening reception.3 As expected, artists and cultural cognoscenti were there en masse, but
a sizeable number of attendees werent typical gallery-goers. Indeed, in one of my opening
night conversations, a woman, who admitted to not knowing much about Lum or his
work, remarked that it takes me back somewhere, Im not sure where.
That Lums work should resonate with both the general public and art insiders comes as
no surprise. It has always been deeply informed by popular culture, the contingencies
of everyday life and the social fabric, and avant-garde art traditions. As early as 1978, while
still an undergraduate, he staged two performances that prefaced his now signature style
of co-opting art and non-art frames of reference to produce a socially engaged and highly
individual variant of conceptual art. Walk Piece (1978, a short Super-8 film transferred and
looped to DVD) depicts the artist walking back and forth on a short path between the back
door of a house and a pathway demarcation line. His repetitive action invokes a 60s antiaesthetic, as well as a psychological edge brought about by conditions of routine and
restrictions both redemptive and repressive. The other documented performance, Entertainment for Surrey (1:45 minutes and looped), also employs repetition, but this time, Lum
stood motionless for four days during morning rush-hour traffic near an overpass connecting a street in the City of Surrey with the Trans-Canada highway commuter link to
Vancouver. On the fifth and final day of the performance, he replaced his physical self with
a cardboard silhouette. In Entertainment for Surrey, Lum positioned himself as a signifier
of the outsider, separate and seemingly disconnected from the onslaught of commuters
ushering in the routine and bedlam of another nine-to-five day. The cardboard sign, intended as the artists semiotic stand-in, also functioned as a mirror in which vehicular occupants could examine themselves, however briefly, against or through the guise of an
other. Lums early videos, likely influenced by Bruce Naumans and Lawrence Weiners
early process-based performances, stand apart in their emphasis on the sociology of the

Opposite: Monument for East Vancouver, 2010.


Aluminum, concrete, and LED lights, 20 meters
high. Right: Red Circle, 1986. Fabric and wood,
300 cm. diameter.

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Left: A Woodcutter and His Wife, 1990. Chromogenic print, aluminum, enamel, and Sintra, 244 x 152 cm. Right: Hanoi Travel, 2000. Plexiglas, powdercoated aluminum, enamel, glue, and plastic letters, 6 x 6 ft.

subject, represented through individual and


collective identity formations.
A second-generation Chinese-Canadian,
Lum grew up in East Vancouver, a side
of the city long populated by immigrants,
blue-collar workers, bohemians, outsiders,
and transients. As opposed to official
Vancouver, the affluent and predominately
Anglo West side, East Vancouver has borne
the brunt of urban neglect, discrimination,
and criticism. Though the cultural and economic binaries of east-west have eroded in
recent years, a general perception of difference remains. That East Vancouver continues, for some, to be typologically encoded
in a collective social identity of the abject
and undesirable speaks less to social realities than to the objectification of popular
mythology. The institutionalization of collective social identity may come from within a community (the East Van logo) as
well as from without. This dialectic, which
occurs in Monument for East Vancouver,
can also be found in Lums Portrait-Logo
series, Image-Repeated Text series, and
Shopkeeper Signs. In each of these series,
public and private are structured as tandem
episodic narratives of the human drama.

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The counterpoise of objectivity and subjectivity in these bilaterally symmetrical compositions underscores their self-reflexivity and, in paradoxical turns, reveals how open to interpretation one state might be when reading its counterpart at face value. In the Shopkeeper Sign McGill & Son (2001), for example, McGill senior, of the paper and printing
company McGill & Son, has posted the phrase To my valued customers / My son is no
longer my son on the companys moveable type sign board.
The Shopkeeper Signs appropriate the deadpan vernacular of down-market advertisements common to suburban strip malls. They proffer little information beyond goods and
Mirror Maze with 12 Signs of Depression, 200211. Mirrors and text, installation view.

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Left: Photo-Mirror: Sunset, 1997. Maple wood, mirror, and photographs, 137 x 99 cm. Right: Well see who gets the last laugh, 2002. 2 mirrors mounted on
colored aluminum frame, 187.7 x 78.6 x 4.6 cm.

services, appended by a modest touch of sentimentality for the simple and


trustworthy independent merchant. Within their limited means, they appear
to make a legitimate effort to reflect the desirability of their commodities and
to mirror consumer taste, but it all unravels in the impulsive posting of personal tirades and testimonials. In these seamlessly produced approximations of
commercial signage, Lum steps behind the banal objectivity of the advertising
faade to reveal, as a larger metaphor, that life is anything but simple.
Signifiers of public and private also collapse in the Furniture Sculptures
from the early to mid-1980s. Inspired by pictures in home-furnishing flyers and
informed by a critique of Minimalisms proclivity for autonomous form and
phenomenological experience, the Furniture Sculptures put a delightfully disturbing spin on high art seriousness, domestic decor, and social formalities.
The series includes standard-issue modular home furnishings such as sofas,
hide-a-beds, lamps, and end tables, which Lum reconfigures into closed-form
arrangements that restrict functionality. Possessed of a kind of Gothic humor,
these psychologically charged works give the appearance of being designed to
follow their own logic, as in Red Circle (1986). The raucous, anthropomorphized
misbehavior of the hide-a-beds in My Arms are Ready to Embrace the Universe
with Love (1983) may be cheeky, but as in Monument for East Vancouver,
Lums uncanny ability to mediate the vicissitudes of our much codified existence makes a discursive joyride out of rebellious demeanor.
Mirror Maze with 12 Signs of Depression (200211), originally created for
Documenta 11, also takes viewers on a bit of a ride, this time as physically
and emotionally active participants. Here, Lum connects pop psychology tropes
to an environment resembling a house of mirrors. Etched into various mirrored

Notes
1 Marsha Lederman, Vancouver is my source of inspiration, interview with Ken Lum, Globe and
Mail, February 11, 2011.
2 Lum quoted in Monument for East Vancouver documentation at the exhibition Ken Lum,
Vancouver Art Gallery, 2011.
3 Ken Lum (February 12September 25, 2011) was curated by Grant Arnold and accompanied
by a catalogue with essays by Okwui Enwezor and Roland Schny.

Gary Pearson is an associate professor in the Department of Creative Studies at the University of British
Columbias Okanagan campus.

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surfaces, phrases such as I feel hopeless about the


future and I am sad most of the time function like
indexical third-party witnesses to ones disorienting
navigation of the reflective labyrinth. It is an unsettling
experience at best, and the presence of other participants, with their multiple reflections and humorous
banter, tinged by degrees of panic and fear, only compounds the theater of confusion. Everyone is in it
together. When I exited the dematerializing confines,
I had the intriguing sense that we had all bonded in a
peculiar yet satisfying way,almost as if unanticipated,
inter-subjective experience collectively took us back
somewhere, Im not sure where.

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THE MEDITATIVE EYE


The Sculpture of
Ron Mehlman
BY VIRGINIA MAKSYMOWICZ

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If not enough has been written about the sculptures of Ron Mehlman, it might be because they absolutely insist on direct visual
engagement. These contemplative objects fashioned from resistant
elements (stone, steel, and glass) and combined with ephemeral
ones (water and light) are best approached in silence. They have little to do with the highly verbalized discourse of contemporary art.
In the 1970s, Mehlman worked mostly in wood, carving organic
shapes that appeared to have been liberated from living trees. His
approach changed dramatically at the end of the decade, after
he participated in the exhibition Artists Make Kites. Geometric
forms began to capture his interest, along with the qualities of
transparency and light. He also began a relationship with Pietrasanta, Italy, which eventually became his second home. As a professor at Brooklyn College in New York, he often brought students to
learn amid the quarries and stoneyards that supplied Michelangelo.
Although the town is named for its 13th-century founder, Guiscardo
Pietrasanta, in Italian pietra santa means holy stone. It is no wonder that sculptors from around the world make pilgrimages there.
Once Mehlman began working in stone, he quickly discovered
that it was more expedient to create his sculptures in Pietrasanta
and have them shipped back to the United States than to negotiate
the logistics of fabrication in New York. Plus the beauty of the
Opposite: The Realm of Matter, 1997. Travertine and granite, 78 x 57 x 36
in. Above: Sunscape: Dunes (detail), 2004. Onyx, travertine, and glass, 81 x
53 x 32 in.

Tuscan landscape had captured his soul. In 1986, he and his wife,
photographer Janice Yablon Mehlman, bought a ramshackle farmhouse on the edge of town. Over the years, they have transformed
it into a studio/showroom/residence/guest facility, complete
with vegetable garden, olive grove, orchard, and vineyard.
In this hillside paradise, Mehlmans sculptures became infused
with spirit and life, changing with the seasons and time of day.
Although the pieces hold their own at Manhattans Kouros Gallery
or in Mehlmans Brooklyn carriage house, they seem much more
at home planted in the earth and stretching toward the sky. Just
as Antony Gormleys figurative pieces are made of lead, fiberglass,
wood, steel and air, these sculptures are constructed of sunlight
and atmosphere, as well as stone, steel, and glass. The only way
to describe them is to speak in metaphor and analogy.
Panes of glass are compressed between layers of marble, onyx,
and granite. Surfaces, textured either by the hand of nature or by
the hands of the sculptor, reveal cracks and fissures. Although composed and controlled, the resulting works evoke the wild beauty
of geological formations. Looking at Mineral Spring, Fountain,
I immediately thought of Thingvellir, in Iceland, where the North
American and Eurasian tectonic plates meet and where the crevices
in the rocks run so deep you cant hear a pebble hit bottom.
Mehlman treats his slabs of stone like canvases: fault lines
become brushstrokes, and he exploits natural color variations.
Combinations of onyx, Belgian black marble, and travertine present
multi-layered hues. In some cases, he enhances the colors by

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Mineral Spring, Fountain, 2006. Travertine and

applying pigments, delicately pushing the


original tones into the dimensions of fantasy.
The results evoke the enchantment of illuminated underground caverns or the wonder of playing with Magic Rocks, those
metallic crystals that grow before childhood eyes.
Because most of Mehlmans sculptures
are relatively flat and unapologetically
frontal, they insist on direct engagement.
They look at us face to face, and we find
ourselves entering a meditative dialogue
with them, not unlike the type of practice
encountered in many religious traditions.
The way these sculptures are composed also
calls to mind processes used to create
Byzantine icons or to select and mount
Chinese garden stones and scholars rocks.
When an artist begins to write an icon
(interestingly, one writesnot paints
an icon), the first step is a careful choice
of wood. Gradually, the layers of gesso, egg
tempera, and gold leaf are applied. The
image takes shape slowly, and the face
emerges last to become the focus of the
meditative eye. Though an icon is considered holy in itself, one does not pray to,
but through the image.
Stones of unusual shape have long
served a meditative role in Chinese culture.
Outdoor garden stones and smaller indoor
gongshi (scholars rocks) were sometimes
chosen for their resemblance to mountains
or caves, providing a spiritual gateway
to those magical peaks and subterranean
paradises (grotto-heavens) believed to be
inhabited by immortal beings. They were
also judged according to the four principals
of thinness (shou), openness (tou), perforations (lou), and wrinkling (zhou).* Mehlman likewise chooses his stones mindfully,
appreciating inherent aesthetic qualities
that might be subtly accentuated. Shou in
the onyx of Sunscape allows natural light
to shimmer through. Tou in Wedgework I
allows negative space to define the form.
Lou enables Scura Straits to encapsulate an
underwater landscape. Zhou brings the
desert to Sunscape: Dunes.
Wadi Sfar, 2005. Onyx and glass, 55 x 38 x 20 in.

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TOP: JANICE MEHLMAN, COURTESY KOUROS GALLERY, NY / BOTTOM: JANICE MEHLMAN

glass, 48 x 48 x 23 in.

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JANICE MEHLMAN

Solar Arch, 2006. Onyx, 34 x 34 x 11 in.

At the appropriate point, Mehlman adds the layers of glass that


parallel the icons light-filled eye, the window through which we
experience the divine. In Wadi Sfar, a slight tilt to the left and the
relationship between the yellow and purple shapes echo iconic
gesture. Imagine a sorrowful Madonna leaning to embrace her
child. It is as if Mehlman has welcomed Theophanes the Greek into
the Liu Yuan Garden in Suzhou, China. As the meditative eye gazes
through these sculptures, the sunlight beckons as it does through
the stone alignments at Avebury and Carnac, the circular configuration of Stonehenge, and the solstice-illuminated passage
tomb of Newgrange.
Of course, Mehlman also draws inspiration from recent history
and a postmodern approach to materials. Like Brancusi, he treats

bases as integral to the sculptures. He mixes different types of


stone, glass, steel, and most recently, recycled wood from broken
furniture and invokes architecture (some of his commissioned pieces,
especially his fountains, respond directly to surrounding structures).
There are also resonances with Isamu Noguchi, David Nash, and Anish
Kapoor. But all of this takes a back seat to direct engagement with
the stuff of life. Mehlmans sculptures take us into their own spatial
odyssey through matter and breath. While he may or may not literally believe that rock can be holy, he certainly believes that the best
art can be transcendent.
Note
* <http://www.metmuseum.org/special/scholar/scholar_more.html#museum>

Virginia Maksymowicz is an artist living in Philadelphia.

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CATHY CARVER, COURTESY MARIAN GOODMAN GALLERY, NY

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ANTONIE MONGODIN/MUSE DU LOUVRE 2011, COURTESY GALERIE THADDAEUS ROPAC, PARIS/SALZBURG, ADAGP, 2010

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Thinking
About
Things
We Cant
See
BY JAN GARDEN CASTRO

Opposite: Lost in Thought, 2011. Wood, 124.5 x


45.25 x 46.5 in. This page: Versus, 2010. Wood,
280 x 295 x 100 cm. View of work installed at the
Louvre, Paris.

A Conversation with

Tony Cragg
From plastic bits of detritus orchestrated into almost-geometric
form to meticulously choreographed, shifting compositions
rendered in wood and bronze, Tony Cragg has turned sculpture on its ear. His work has pushed the medium in new directions, and his experiments with materials continue to evolve,
expanding notions of sculptures unseen, inner energies and
values. The linear dimensions inside a sculpture, in its silhouette and shadows, play an increasingly significant part in his
explorations. Works like the Figures of Thought series use
plywood layers to create lines that disappear into the interior
of each piece. Craggs recent show at Marian Goodman in New
York featured large to monumental shapes that had to be
hoisted in through a fourth-floor window. Four more pieces
one much too tall for the gallerygraced the atrium at 590
Madison Avenue.

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Jan Garden Castro: How does a piece like Lost in


Thought evolve? What is the beginning of the process?
Tony Cragg: In 200607, I made a series of works that
were more or less columns. They were elliptical in
cross-section, the ellipse being a useful formal device
because it gives you two axes, and I put different
drawings along the tangents of the axes. That enabled
a quite radical change of view as you walked around
the sculpture, more or less like Rodins comment:
Sculpture is silhouette, silhouette, silhouette,
changing from things that one recognizes or might
consider as profiles, then disappearing into abstract
sculptural volumes that one has to read for oneself.
One of those columns, though maybe more complicated, is at the center of Lost in Thought. In a sense,
there is a figurative base to the sculpture. You very
rarely see a human figure in its entirety, and you never
experience a candid or open way to read what people
are thinking or feeling. We have learned so many socially
accepted conventions and mannerismswhatever
happens, nobody finds out what were really thinking
or feeling. Lost in Thought is partly about the strategies
that we hide behind and use to represent ourselves.
I began with a central figure in woodloosely fixed
together, but in a way that didnt involve any jointing.
Once Id established how the outer shells or parts should
be, I wanted to have a flowing, complete figure that
had a certain integrity, without strange foreign parts.
Its quite a complicated work because any changes that
I makeeven small onesrequire the whole sculpture
to be taken apart into its constituent parts from the
top to the bottom. The whole thing is an enjoyable but
taxing process of looking at it, assessing it, finding out
what I feel about it, thinking about what Im actually
seeing, what my ideas about it are, and, based on
those decisions, making the next step. Its a long chain
of decisions. There is a starting point in my mind, but
its not where Im going to end up. Making the sculpture is more exciting and intelligent than trying to figure out what its going to look like. In doing it, it leads
me onits a dialogue with the material.
JGC: How is it constructed?
TC: The layers are about an inch thick but made so that
they are sculpturally integral to the work. These interconnections have a point. The work is, in a sense, being
constructed out of many layers of wood into one solid
thing. During the making, they are all numbered. Its
been taken apart dozens of times. After the final decision, it has to be taken apart and then glued and
screwed together in a consecutive sequence. Weve
developed great tools to get around and into a piece.
JGC: Such as?
TC: Theres a company called Wrt. Theyre always
helping us find new solutions. They have developed

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Above: Elbow, 2011. Wood, 300 x 102 x 398 cm. Below: Red Figure, 2011. Wood, 236 x 240
x 68 cm. View of work installed at the Louvre.

TOP: JOHN BERENS, COURTESY MARIAN GOODMAN GALLERY, NY / BOTTOM: CHARLES DUPRAT, COURTESY MARIAN GOODMAN GALLERY, NY

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CHARLES DUPRAT, COURTESY MARIAN GOODMAN GALLERY, NY AND THADDAEUS ROPAC GALLERY, PARIS/SALZBURG

Manipulation, 2008. Bronze, 250 x 220 x 220 cm. View of work installed at the Louvre.

grinders and cutters and saws on long arms that go around corners if you want
to use them that way.
JGC: How many versions of Lost in Thought are there?
TC: At this point, there are four successive versions, each one getting larger.
The first was for myself. Then I made one that I was very happy with in Berlin.
There are two in New York, which are tower-like, and Im in the middle of
trying to make two others that extend almost horizontally.
JGC: Could you talk about your early work from the 70s using crushed rubble
and stacks of objects?
TC: I think that any sculptors life has two histories. One is the time that youre
born into and you work into, and the other is ones own personal history.
Theyre obviously interconnected. In the late 60s, I went to art school in
Britain thinking I was going to paint, but I found that I was more interested
in drawing and making things. One innovation from the time particularly
interested me, and that was making direct, primary contact with the material
getting a piece of string and tying knots in it, digging a hole in the ground,
piling up earth, stacking materials, finding materials, categorizing materials,
using materials that nobody else had thought of using. There was the sense
that you could make something interesting with the materials of urban and
industrial reality. I was only 20 years old, but those works were very, very
important to me. As a student, I was influenced, ironically perhaps, by Arte
Povera, Mimimalism, and conceptual art.
At some point, I realized that all of this belonged to another generation and
it wasnt my direction. I started to break out of process-making, making things
that had images in them and working with discarded material that had neither the grace of nature nor of use. I recuperated material to make things
that were somewhat geometric; but because of the material, it was impossible
to make them perfect. Stacking material up into a cube that was never going

to be a cube was a self-defeating thing. Everyone


thought it was an ironic use of plastic; actually, plastics a beautiful, remarkable material. Britain in the
1950s was a dour placeeverything was broken and
rusting. A plastic toy looked remarkably fresh, bright,
and colorful; it didnt break down or rust like traditional
toys. Even a plastic bucket looked like something from
outer space. I grew up in that time, and it stuck with
me for a bit. It wasnt meant at all ironically.
After a while, I didnt feel that I had to go on making
material gestures. I wanted to have just primary steps
particular things spread around and arranged, then
layering up, making geological strata, layers of skin,
like molecules, grains of sand. Then, having made
things that started as skina two-dimensional surface spreading outI ended up with a bubblea
thing that joins up on itself, making a vessel. By the
early 80s, vessels as objects were very important for
me. My works always had an interior and an exterior,
though maybe something different happens on the
inside and the outside. I went on to articulate those
neutral forms in a series called Early Forms, which
I started in 1984. It was a simple conceptan object
moving in space and morphing into another form. Its
about considering, not the things we can see, but all
the things we cant see. Our industrial systems dont
allow us to do that.
Those works are still going on. I thought it would
be a simple thing, then I realized that if you move
something in a curve, it isnt too transparent, and if

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Left: Accurate Figure, 2010. Bronze, 188 x 76 x 81 cm. Above: 2 views of Red Figure, 2008. Bronze,
207.96 x 209.86 x 41.91 cm.

you throw a bubble around, then turn and


twist, suddenly youre cutting through the
same reality twice. It was quite difficult to
realize that sculpturally. I ended up making
works that you couldnt see inside; the surface was hermetic. So, I started making
works with holes in them called Envelope
or Thin Skins. I realized that bronze is a kind
of a blinda substitute for another material.
You see it and think, Thats a bone or
Thats a figure. Then you bang on it, and
it rings hollowI wont say fake. It still has
a reference to the early works in its truthfulness: you can see the inside and the outside and the entry from the outsidethe
moment of going into the sculpture. That
interested me and continues to interest me.
With Lost in Thought, the stratification
is still there, the desire to lead into the

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volumes. When we walk through the world, I think theres a force in our minds. The light
that comes into our eyes is always rebounding off the surface of the world around us.
There is a mental pressure of some kind that we would like to see beyond. Have you ever
seen how kids have to find their balance when they start to walk? Because theyre not
sure, they walk like we walk on ice. They touch things to see if their hands will go into
them. We would like to know whats underneath the surface were looking at. It may
sound a bit cheeky, but I think its important. Its a keyhole to thinking about the structure of materials, to thinking about the eternal problem of sculpture: Why does the surface look like that? What internal forces are behind it? When you see a Roman or Greek
figure with its bulging muscles and veins, it shows that the material is supported with
some energy. The form gives the impression that theres a living force under the skin of
the stoneits the same in Henry Moorethe bulges are a sign of vitality, a sign of
human life. Things are erect because the material cooks up an energy. Thats how everything works. If you lay down on the floor, first of all, youre a nuisance, but after a while,
if you dont show any energy, you will turn into dust and disappear into the surface.
Ultimately, the internal structure of the material gives it its form.
JGC: In relation to energy, how did you decide what to show at the Louvre?
TC: The Louvre is full of 17th-, 18th-, and 19th-century marble masterpieces. You can read
each form as a story, but a figure extending an arm or carrying a spear also implies the

LEFT: CHARLES DUPRAT, COURTESY MARIAN GOODMAN GALLERY, NY AND THADDAEUS ROPAC GALLERY, PARIS/SALZBURG / RIGHT: COURTESY MARIAN GOODMAN GALLERY, NY

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MICHAEL RICHTER, COURTESY MARIAN GOODMAN GALLERY, NY

Runner, 2011. Bronze, 156 x 107.3 x 80 cm.

enormous pressure on this shoulder over


the centuries. The piece is demonstrating
a vital force. I dont make figurative sculpture, but by stacking something up, you
invest the stack with potential energy. I
thought it might be interesting to show
Elbow, which hangs out there; thats his
pose for, as far as Im concerned, eternity.
All of the works for the Louvre were chosen for that purpose; the very big Versus
also derives from elliptical figureslots
and lots of columns placed inside each
other. In a similar way, we can think of
the sun as a three-dimensional volume in
space by grace of its internal explosions.
Its cooking, making itself and giving itself
its form. My hands have their shape because
every cell in my body is working to give
them that shape. If you change the shape
of the cells, you get a hybrid, a different
being. The Louvre works are all related to
that idea. Versus is an object that is boiling;
Elbow is part of the inside of that sculpture, as are Runner and Red Figure. Other
workssuch as Manipulation, which is
a bronze molded negativelyshow that
every point on a surface is a value. Im
interested in thinking aboutand varying
the internal structure of a thing in the
knowledge that this will change the outside. Thats the principle of my work. For
the best chess players, after youve made a
chain of decisions, youre a long way from
your original intention. In art, youve got
something youve never seen before. Thats
what I enjoyits a great journey.
JGC: What about the role of science? Some
of your works are named after cells, and I
know that you have worked in research.
TC: I always say that when I was 19, I
worked in a biochemistry laboratory, but that
doesnt make me a scientist. I was a lowly
lab assistant. Science is primarily a great
observation system. Some people dont
take the time to find out how a light switch
works, how the world functions on a simple
level. Im not interested in making art out
of scienceit always looks appalling, pious,
and pretentious. But I think that art gives
science value and makes sense of it. Art
can give meaning and value to the reality
around us, maybe even to our lives.

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JGC: You have been quoted as saying that all artifacts are extensions of ourselves.
TC: They certainly are. Thats because in the household of nature, were a body living in
an existential framework. Every organism exists in a biological niche. Most simple organisms
cant control their environment; they have no conscience about it. We are different. Were
aware of all these things, so there has to be some mitigation between the landscape and
our body, the two big categories. Just standing or sitting on the naked earth, weve found,
is not a good way to survive. Its much better to have a pair of shoes or something to
sit on. Our predicate for survival is to use extensions of the material world around us
from picking up a rock to driving a Mercedes down Madison Avenue.
JGC: I overheard a collector talking about seeing phallic imagery in your work. There are
intimacies in your sculptures that turn objects into subjects with which people interact.
TC: That has to do with the making process. When I talk about my emotional responses
to a form, I never think about anybody else. The fundamental difference between art and
design is that a designer always has to think about recipients and does what he can to
engage them. With artists, on the other hand, the only person in the room is the artist
himself, and what happens later is another story. The minute that the artist starts to

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Mixed Feelings, 2010. Cast iron, 62 x 63 x 50 cm. View of work installed at the Louvre.

think about the recipient, hes in trouble. Artsculptureis extraordinary. Everything


else is ordinary. Sculpture is a very rare, human use of material in a very small category
of objects. Its the only one that doesnt have a utilitarian-backed function. It can be
incredibly, frighteningly free to do anything. Of course, we have to learn to think with
it. Its like listening to some weird music that youve never heard beforeyouve got to
pay attention to find the internal structures. In the end, you look at it and understand
the structure. I do it for my own enjoyment. Im assuming that gets written into the
material in the same way that a poet writes a poem and knows that of the people who
read it, somebody will understand what hes talking about, even if its not using the
standards of utilitarian language.
JGC: As the director of the Kunstakadamie in Dsseldorf, what are your goals for students?
TC: Students have some advantages and some disadvantages. Their great advantage is
that theyre young, and their great disadvantage is that theyre young. I was lucky;
when I went to art school, there was no media coverage of contemporary art, fewer
journals, museums, and curators. The art world was very, very small. In the last 50
years, its gotten out of hand, with almost more curators than artists. Today it is easier
for artists to do big projects and use museum facilities, but it is not easier to be an art
student. Students have all of this stuff around them. Their tendency is not to look at
botany or zoology, at complicated numbers or social structuresto observe something.
Thats what I think is important: observe something, get information about it, respond

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to it emotionally, and then find a way of


interpreting your response into the material.
All of that takes a lot of time.
Theres a tendency for young artists to
be too influenced by the over-commercialization of the art world. When they go into
museums, theyre confronted by a cast of
museum curators and critics. You worry
about students seeing whats in the galleries and being too heavily influenced
by the enormous attention paid to the art
world. They should do something for themselves. For that, they dont need dogmas
and indications of how to do it; they need
time, freedom, encouragement, and help
when there are material and formal concerns. Thats all you can do. In the end,
you cant teach art. They have to do that
themselves.
JGC: Some people have compared your work
to that of Boccioni and Noguchi.
TC: I dont mind that, but I dont think
about other artists. Sculpture has developed

CHARLES DUPRAT, COURTESY MARIAN GOODMAN GALLERY, NY AND THADDAEUS ROPAC GALLERY, PARIS/SALZBURG

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Group, 2011. Cast iron, 65 x 56 x 49 cm.

in a dynamic manner over the last 100


years, even over the last 50 years. It has
changed from being a power symbol made
to represent human beings in their glory
into a basic study of the material world.
Unlike scientists though, we dont try to
find out how the whole thing works. Artists
give meaning and value to the material
world. Everybody makes their contribution. Theres not a sculptor I know whose
work is not valid and part of the whole
development. In a city like New York, millions of tons of something are made
in a dayfrom pizzas to paper to books.
Probably just a few pounds of sculpture
get made. Its a rare human activity in the
whole picture of human existence.
JGC: Ive heard people say that your works
create music. Do you think that your work
has a synaesthetic effect, triggering senses
other than the visual?

TC: Thats an interesting question. In music, weve learned to hear structures, and we
know how to vary elements like pitch and harmony. With this structure, you compose something in the air. Its abstract by nature. As complicated as the world of
sound is, the world of vision is even more so. We experience vision as overwhelming
and, at times, chaotic. In fact, stare at it long enough, and youll find that it has
the same repetitive structures that can be varied and used in different ways to produce something almost musical. Its like changing the cells of an organismyoull
have a different organism at the end because the interior structure determines the
outside result. As soon as I change the internal, formal construction that Im using
from an ellipse to a circle or a compound form, then the outside form automatically
changes. You can change the material to have a resonant feeling. Im not saying its
music, yet you can almost feel the composition coming out of it. In the future, I
believe well be able to see into things, to develop a vision to see the material world
in a different way.
We simplify the world so terribly. One square meter of forest is as complicated as
the whole of New York. Nature has had millions of years to make complicated structures. Weve been at it for only a short period of time, and the world is hungry for
simple solutions, so thats what we get. Slowly, were accumulating more knowledge
and trying more variations. Weve taken this planet over now. We will compose the
reality of the future, and we have to be very intelligent about it. Somebody has to
be responsible for our fate.
Art historian Jan Garden Castro is a Contributing Editor for Sculpture.

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For more than 40 years, sculptors have been at the forefront of


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and raw material. The new earthwork, which is currently at the
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(Required by U.S.C. 3685): Date of filing 9/13/12; publication number 0889-728X; published monthly by the
International Sculpture Center, 19 Fairgrounds Road,
Suite B, Hamilton, NJ 08619, all rights reserved. Annual
subscription rate: $55. Publisher: International Sculpture
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and/or requested circulation: sales through dealers and
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reviews

F e st i va l

As the finale of the Cultural Olympiad,


the London 2012 Festival fulfilled its
pledge to create a nationwide celebration of the arts in conjunction
with the Olympic Games. This kind of
celebration is designed to appease
people, make them feel involved and
patriotic. Great effort was expended
on organizing the spectacle, which
might have succeeded as a temporary distraction from greater concerns, but could also leave a bitter
aftertaste should the promise of an
enduring legacy fail to improve longterm well-being. Though the epicenter of activity and most commissioned works remained firmly and
predictably anchored in London, the
festival also created tangible offshoots across the breadth of the U.K.

Everything about the festival was


big, loud, and participatory: indeed,
participation was built into its remit
from the outset. Martin Creed
encouraged the whole nation to ring
bells, any bells, for three minutes in
a simultaneous and all-encompassing cacophony to herald the first
day of the games. Yoko Onos Smile
project invited participants to upload
their smiling photos to a global
portrait anthology, while Marc Reess
traveling art space, created from a
wingless airplane, involved viewers
in a plethora of cultural activities
at each of its designated locations.
Participation can become routine,
however, and result in works with
no purpose other than satisfying
the inclusion of the masses. Jeremy
Dellers full-size inflatable replica of
Stonehenge, a buoyant playground

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really, toured the nation as a diversionary entertainment, becoming


an inadvertent tribute to some of
the excessive and vacuous strands
of the festival itself.
As each location vied for attention,
separating the interesting from the
inane became increasingly difficult.
Equally problematic was the assumption that giving artists a theme, a
site, and some money would lead
them to produce their best work.
Offerings, therefore, ranged from the
intriguing to the excruciating, to
the downright mundane. Richard
Wilson deserved attention for precariously dangling a full-size replica
coach off the edge of Bexhills De La
Warr Pavilion to re-create the final
scene from The Italian Job. Not to be
outdone, Oded Hirsch installed a lift
crashing through the ground in the

Alex Hartley, Nowhereisland, 2011


12. Traveling Arctic island, dimensions variable.

heart of Liverpool, much to the consternation of passersby. Hans Peter


Kuhn sited red and yellow flags,
rotating freely in the wind, along the
length of the bay of Port Noffer in
Giants Causeway, while a spinning
cloud column by Anthony McCall
rose to infinity from the Wirral
Waters in the North West.
Some of the commissioned works
took on a distinct life of their own.
In Nowhereisland, conceived by Alex
Hartley, a piece of geography masqueraded as a public artwork. This
nomadic enterprise took the form of
an Arctic island that journeyed 500
nautical miles around the South
West coast, hosted by eight ports

COURTESY THE ARTIST AND SITUATIONS, UNIVERSITY OF THE WEST OF ENGLAND, BRISTOL

O lym p i cs : L o n d o n 2 0 1 2

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TOP: WARREN ORCHARD / CENTER: ANGELA CATLIN / BOTTOM: DAVID POULTNEY

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and harbors and accompanied by its


own mobile embassy. Hartley discovered the island eight years ago,
and on its initial withdrawal from
Norway, he developed it into a traveling, multifaceted project. Equally
esoteric was Exploratory Laboratorys
fusion of art, geology, and technology along the Jurassic Coasta 95mile section of coastline between
Dorset and East Devon. Here, artworks developed over an eightmonth research period and commissioned by the visual arts collective,
Big Picture, sprang from the geologically sculpted Mesozoic landscape.
The investigation aimed for fresh
insights into an ancient world
through geomapping and land-scanning technologies with the capacity
to make the invisible visible. Findings were presented in the form of
fieldtrips and installations.
In London, the Olympic Delivery
Authoritys Art in the Park program
developed a series of commissions
over a period of two years and fused
them into the infrastructure of
the Olympic Park. This was a branding exercise on a scale never before
witnessed: made-to-order and corporate in feel, these works attempted, through size alone, to make up
for an inherent lack of purpose. The
projects had little aesthetic or intellectual value, other than their obligatory participation in this mammoth celebration of sport and culture. Here, artists were locked into
a committee-imposed scheme that
encouraged competition and selfperpetuating hierarchies of domination. Many of the works are intended
to be permanent. Whether visitors
will travel to see them once the
glitz has ceased and the artworks
settle into the scenery is, of course,
a matter for posterity.
At nine meters high, Monica Bonvicinis RUN is the largest stand-alone
work in the park, and it strongly
resembles an overblown corporate
logo. The three steel and glass letters reflect their surroundings during

the day and glow psychedelically at


night with internal LED lighting.
Ackroyd and Harveys History Trees
each support a 500-kilogram metal
ring, symbolically marking the 10
entrances to the 500-acre park, while
Carsten Nicolai transformed the five
Olympic rings into an image of a
low-frequency oscillation sound wave
and digitally printed it on a fence.
Not all of the commissions will
endure beyond 2012: Running Water
by Peter Lewis and Bit.fall by Julius
Popp were both commissioned
as temporary water features. Keith
Wilsons brightly colored Steles
(Waterworks), a chain of nautical
monoliths, were designed to be used
for boat moorings after the games.
Artistic endeavor inspired by the
Olympic Games is not a new concept;
the idea dates back to the original
games in eighth-century BCE Greece.
There, the mood was also competitive, as artists congregated to display
their works to potential patrons,
who commissioned works from some
of the greatest sculptors of the
time. Likewise, some of the U.K.s
most revered artists, now pillars of
the establishment, produced new
work for the festival. Antony
Gormley exhibited a stage element
designed for the production of
Waiting for Godot at Castle Coole in
Enniskillen. Rachel Whiteread created a frieze to complete the historic
faade of the Whitechapel Art
Gallery, more than a century after it
was first proposed by Walter Crane,
and Yinka Shonibares life-size Globe
Head Ballerina, inspired by the legendary dancer Margot Fonteyn,
slowly rotated over the entrance to
the Royal Opera House.
With images of a regal London
beaming across the world, it was
easy to forget that great swathes of
the U.K. still lie barren, a wasteland
neglected and ignored by consecutive governments. People wander
the streets aimless, jobless, and
homeless, while the privileged minority repeatedly make empty promises

and flawed decisions from their base


in the capital. The games have
always been a political tool, and this
government has pledged a lasting
Olympic legacy in terms of new
jobs, homes, and the development
of thriving communities. Art has

Top: Marc Rees, Adain Avion, 2012.


Full-size wingless airplane. Center:
Jeremy Deller, Sacrilege, 2012. Lifesize inflatable Stonehenge replica.
Bottom: Monica Bonvicini, RUN,
2012. Glass and stainless steel, 9
meters high.

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Top: Anish Kapoor and Cecil Balmond, ArcelorMittal Orbit, 2012. Steel and red
paint, 115 meters high. Above: Richard Wilson, Hang on a Minute Lads, Ive
Got a Great Idea, 2012. Life-size model of a bus. Right: Masayuki Oda, Frozen

a spectacle of vast proportions, and


this kind of commodification eliminates the idea of originality or discovery. The relationship between art
and economics is notoriously difficult; egotistical forces also play a
significant role. It is perplexing, for
instance, that ArcelorMittal Orbit
bears the name of its funder, while
the Eiffel Towerto which it is frequently comparedis named after
its designer, Gustave Eiffel.
The transformation of east London
into a world-class tourist destination
in time for the Olympicswith art
branded good for businesswas
largely achieved. The festival is supposed to act as a springboard for
1,000 unemployed young people in
the Host Boroughs to find jobs in the
arts over the next few years, and it
is imperative that this kind of tangible aftermath be achieved. East
London may thrive under the symbolic auspices of Orbit, but there is
a danger that many of its povertystricken residents will be ejected
from their neighborhoods to make
room for wealthier inhabitants

one of the eternal downsides of


regeneration. The summer of 2012
will undoubtedly be remembered
for an invigoratingif somewhat
uneven and controversialfusion
of sport and culture. But a lasting
legacy? Only time will tell.
Ina Cole
Santa Monica

Masayuki Oda
Lora Schlesinger Gallery

Masayuki Odas recent work consists


of familiar-looking things made more
interesting and sculptural because
they are out of proportion, funny,
or very abstract. Several objects are
strange re-makes of the ordinary
and overlooked, and all of them are
cute to some degree. Though
he draws some of his imagery from
banal objects, the work has no connection to issues of consumerism
or mass-production; instead, Odas
insistent humor, particularly in
the choice of materials and wacky
distortions, gives it some bite. Every
object has a title that plays off the
image: Anonymous is a ghostly

Chicken, 2009. Fabricated bronze, 11.5 x 9 x 14 in.

place on Blackpool Pleasure Beach.


The festival offered an opportunity
to showcase the U.K. to the world:
the louder the message, the greater
the chance of being noticed. Orbits
future purpose is well definedto
serve as a conduit for investment
and a shining beacon for regeneration in what has historically been a
grossly neglected area of London.
Creating artworks to order nearly
always results in discordant compromise. Not that wealthy sponsors are
new to artistic endeavorfar from
itand to some degree, artists
choices have always been subject to
economic, political, and moral constraints. However, when an artwork
assumes a municipal appearance to
the detriment of artistic integrity, a
vital ingredient has gone adrift. In
the Art in the Park commissions, the
aesthetic and the social merge into

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TOP: ARCELORMITTAL

been entrusted with a significant


role in this future vision. Billions
were invested in the Olympics, so
the stakes are high.
With this in mind, Britains biggestever piece of public artAnish
Kapoors 22.7 million ArcelorMittal
Orbitis a phenomenal exercise in
product placement: ArcelorMittal, a
key funder of the project, is a global
steel production company with operations in more than 60 countries.
Intellectual integrity was undeniably
sacrificed in the development of this
brash tower, which, at 115 meters
high, has been dubbed one of the
worlds tallest sculpturesa structure to challenge both the height of
the Statue of Liberty and the iconic
status of the Eiffel Tower. It has to
be said that this vertiginous structure, designed as a major visitor
attraction, would not look out of

Sculpture 31.9

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GINGER PHOTOGRAPHY, INC., COURTESY THE ARTIST AND LOCUST PROJECTS, MIAMI

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paper bag with holes for eyes and


mouth; Enlightenment consists of
an industrial-sized wall lamp with
an extra-large light bulb. The punning adds an element of discomfort,
an antidote to so much cute.
What makes Odas work worth
looking at is the way that its made.
Each piece is a one-of-a-kind bronze,
neither cast nor editioned. They
have the feel of handmade objects,
of something made directly. The
surfaces are modulated, a bit imprecise. Oda works in an oddly Minimalist fashion; his sculptures are pareddown but inflected by the means of
fabrication.
Only a few pieces resemble things
usually made out of metal, but every
work is polished and patinated. The
patinas are very traditionaldark
brown, silver, polished bronze, copper, and black. There is the precious
look of bronze sculpture, but also
a mockery of that tradition, as in
Wallwalker, a life-size pair of heavy
boots stuck onto the wall at a right
angle and ennobled by transformation into shiny bronze. In this show,
the sculptures benefited from proximity; no object was more than
a few feet away from the next. You
couldnt look at the side of a stovepipe (Exhaustion) without seeing a
wing-nut (Wound-up) on the opposite wall or a faucet/phallus (Size
Counts) on the left. The experience
was more like a hallucination than a
vision, drawing together completely
unrelated objects: a Giacomettiesque pair of chicken legs meets a
large white eyeball, a wing-nut, an
arrow. Several objects in this menagerie, such as Sucker (a shiny bronze
cylinder with four bronze disks for
feet) and Warrior (a small herd of
sheep-like objects), are completely
imaginary.
The unlikeliest vision in the exhibition was Day Dreaming, a large
grouping of thought bubbles rendered as a two-part, black and
white cartoon drawing on bronze.
Awkwardly curved, narrow edges

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raise the ovals slightly off the wall.


This was the most cerebral piece in
the show, in part because of its minimal quality; it was also the most
suggestive in its austerity. Compared
to Odas other works, which are selfreferential, identifiable, and
anchored to their likenesses, Day
Dreaming is tentative, imprecise,
and more intelligent than clever.
Despite its comic-book ties, Day
Dreaming offers an uncomfortable
blank, a cipher.
Oda loves commonplace things;
he wants to transform them, make
them art, preserve them in bronze.
His work is meant to make the viewer re-envision these ordinary objects
and rescue them from the world
of utility and invisibility. Despite the
punning humor, a Proustian sentiment is at work here: Even when
one is no longer attached to things,
its still something to have been
attached to them.
Kathleen Whitney
Miami

Ruben Ochoa
Locust Projects

Ruben Ochoas many talents include


excavating and revealing hidden
truths. His recent installation at
Locust Projects was a fitting last
show for a soon-to-be-demolished
building. In conjunction with this
exhibition, Ochoa also created the
ironically and literally titled A Bit of
Detritus for the James Cohan Gallery
at Art Basel Miami. Ten slabs of
aggregate with a terrazzo edge and
Venetian finish were threaded onto
a central metal rod to form a 5,000pound column. The construction
evoked a major foundation of
Western civilizationRomes discovery of pozzolana, a volcanic ash that
became the key ingredient in concrete. The slabs also suggested crumbling, present-day economies.
Cores and Cutouts at Locust
explored the space above and below
the floor. During a nine-month gestation period, Ochoa and his studio

Top and detail: Ruben Ochoa, Cores and Cutouts, 2011. Concrete, dirt, and
mixed media, installation views.

director Cam La built life-size cardboard models of the proposed intervention in his Los Angeles studio.
They took a core sample of the earth
below the gallery to further assess
the feasibility of the project. Installation required five weeks: Ochoa and
his small crew opened up the floor,
cutting out seven giant squares with
a circular saw. Ochoas cuts
appeared as crisp lines drawn into
the floor, extending just beyond the
corners of each square. The crew
then used a chipping hammer to dig
down through layers of sand, earth,
limestone, and coralincreasingly
dense substances. Most of the excavated material was removed, but

some was sorted by colorfrom


dark earth to yellow, to pink coral
and light gray limestoneand
placed in discrete piles on the
remaining floor areas. An angled
metal post was planted in each of
the seven excavated pits, and the
displaced floor squares were mounted on top of the posts. Rebar, evidence of a fire 100 years ago, and
other anomalies could be seen in
both the slabs and the excavated
strata. Even though the installation
moved forward in the knowledge
that the building was going to be
torn down, the excavated areas and
floor had to be restored at the end
of the show.

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Ochoas work requires an active


exploration of each site and arduous physical labor in order to activate and reveal the space. As he
exposes unexplored relationships
between raw earth, built environment, and the psyche of civilization,
he demonstrates not only how art
comes into being, but also how
humans destroy one thing in order
to create another. This is a rare
visionand a rewarding one for
viewers who pay attention to the
spirit as well as the body of the work.
Jan Garden Castro

Swoon, Anthropocene Extinction,


2011. Mixed media, detail of installation.

in Pennsylvania; in Boston, she


worked with two assistants, half a
dozen art handlers, and eight local
volunteers.
The progress of the ICA piece was
lyrical and logical; the long chain
linked all of the elements together
to create a single large work, 40
feet high. The paper chain embodied
another of the installations themes,
interdependence. Despite its size,
the chain had a certain delicacy, and
following it was as irresistible as
following the yellow brick road in The
Wizard of Oz.
The reward was the dramatic hanging sculpture. Its armature consisted
of bamboo sticks lashed together,
and its form recalled a tiered temple. Cut paper birds, fish, skeletons,
lizards, spiders, hammerhead
sharks, beetles, sea horses, and other
fauna inhabited the sculpture, wafting gently in the air currents. Were
these creatures threatened with
extinction? They seemed to be taking
refuge in the temple as if it were an
airborne Noahs Ark.
Christine Temin

B o sto n

Swoon
Institute of Contemporary Art

Self-styled street artist and activist


Swoon (a.k.a. Caledonia Curry)
recently contributed a site-specific
work to the ICAs 75th-anniversary
celebrations. While officially part of
a series on the Sandra and Gerald
Fineberg Art Wall, Anthropocene
Extinction leapt off the wall as soon
as possible, erupting into a long,
ribbony chain of paper and cloth, like
a giant kindergarten art project,
that culminated in a 400-pound,
suspended sculpture next to the
ICAs glass elevator. During its installation, visitors took more than the
necessary number of elevator rides
they were mesmerized.
Walking into the museum, viewers
immediately encountered an
immense portrait of a 90-year-old
Aboriginal woman on a copper-colored wall. This is where most people, I think, began the journey
even though an ICA label instructed
you to start at what I saw as the
end, the huge sculpture next to the
elevator. The woman was rendered
in Swoons signature style, the
scratchy strokes representing one of
the last nomads on earth, someone
who travels with the seasons in
order to find food, the antithesis of
the typical ICA visitor en route to a
sophisticated caf. This incongruous
figure introduced one of the instal-

Mountainville, New York

Light & Landscape


Storm King Art Center

lations primary themesindustrialized society destroying ancient


lifestyles and the environment.
Anthropocene Extinction moved
quickly, turning into that ribbon
of drippy cut paper and lengths of
shredded white cloth. The project
inhabited a cluttered, busy space,
with ticket counters, caf entrance,
and shop all competing with it
and losing. Swoon is accustomed to
working in the streets, so she makes
aggressive work that is nearly impossible to ignore. She contributed
to the Konbit Shelter Project in postearthquake Haiti, using scavenged

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materials to create sustainable


housing. She has also made motorized rafts out of found materials;
these vessels, which have traveled
down the Mississippi and Hudson
Rivers, created a sensation at the
2009 Venice Biennale. The authorities
had denied Swoon permission to
sail down the Grand Canal, but on
the last night of her two-week stay,
she and her team thwarted the prohibition and entered the Canal anyway. As all of this indicates, Swoon
often works with collaborators. For
the ICA project, she had eight helpers
working on the hanging sculpture

Light & Landscape, organized by


Storm King associate curator Nora
Lawrence, was inspired by Alyson
Shotzs Mirror Fence (2003), a 130foot-long stretch of mirrored pickets
that reflect the viewers every movement, along with the beauty of the
surrounding landscape. The show,
which remains on view through November 25, features 14 artists who
use the light of the sun as a central
component of their work.
Katie Holtons Sun Clock (Making
Time) (2012) tells the time of day
by using shadows cast by viewers as
they stand in front of 12 monthly,
planet-shaped markers. Lunar (2011),

JOHN KENNARD, COURTESY THE ARTIST

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TOP: JERRY L. THOMPSON, COURTESY THE ARTIST AND DEREK ELLER GALLERY, NY / BOTTOM: JERRY L. THOMPSON, COURTESY THE ARTIST AND RHONA HOFFMAN GALLERY, CHICAGO

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Spencer Finchs solar-powered geodesic dome becomes startlingly


visible at night; from the thruway,
it resembles an object from outer
space. Peter Coffins delightfully
unexpected Untitled (Bees Making
Honey) (2012) consists of a fencedin area containing four active beehives that highlight sunlights
important role in apian navigation
and the production of honey.
Inside the gallery, Anthony McCalls
1972 video Landscape for Fire shows
a series of geometrically timed fires
in the middle of a sports field. Roni
Horns five colored photographs
(200910) document the effects of
changing weather conditions on a
womans face. Her sky-blue glass
cube polished to a fare-thee-well is
installed nearby. Peter Coffins
Untitled (Yellow Outline) (200812),
a solitary window treated with a
thin layer of translucent yellow film,
casts a yellow shadow across the
space.
Transitional Objects (201011), two
of Shotzs laser-cut acrylic sculptures,
use the reflected light streaming
through the windows to bring the
hidden rainbow colors of the sun
to life. In Solarium (2012), William
Lamson presents a glimmering
glass house composed of hundreds
of small, baked sugar panels sandwiched between panes of glass. The
kaleidoscopic structure, which he
refers to as an experimental greenhouse, houses a few plants in the
process of photosynthesis.
Equally magical, though its full
process remains invisible, Katie
Patersons Streetlight Storm (2009)
uses Skype to connect the lanterns
above the buildings entrances to
an antenna in Britain. That device,
which detects lightning from the
Arctic Circle to North Africa, transmits
its data to the lanterns and causes
them to flicker. In Patersons 100
Billion Suns (2011), a hand-held cannon discharges 3,216 pieces of confetti, representing the 3,216 times
that sunbursts have been photo-

graphed since 1960. Shot off every


afternoon, this fusillade of confetti
is a celebration of creativity.
Edward Rubin
N e w Yo r k

Frieze Art Fair Sculpture Park


Randalls Island Park

The arrival of Londons huge and


trendy Frieze Art Fair was the New
York City art world event of May
2012. A long, subtly slithering,
gigantic white tent was erected on
Randalls Island for the occasion, to
accommodate the gallerists individual booths. Along the western flank,
sculpture was installed in an area
designated (rather optimistically) as
a sculpture park, where new
selected works by emerging artists,
curated by Tom Eccles could be
viewed free of chargethough how
Subodh Gupta, Jaume Plensa,
Matthew Ritchie, Ernesto Neto, and
the late Louise Bourgeois could
be qualified as emerging artists, I do
not know. For the record, Ritchies
contribution was a no-showa not
insignificant factor in an exhibition
featuring only 14 works from an even
smaller number of galleries.
While searching for Ritchies work,
I saw two shopping carts filled with
stuff, the kind of mobile installation
created by homeless people who can
once again be seen pushing along
city streets, and wondered for a
moment if these, too, were artworks
(though I quickly concluded otherwise). The confusion was increased
unnecessarily by a lack of informationneither Ritchies absence from
the exhibition nor descriptions of
the featured sculptures were recorded anywhere. The shopping carts,
abandoned near pricey, supposedly
cutting-edge sculpture, struck a
melancholy note, as a fair number
of multi-millionaires swooped across
the oblong islandwith its huge
psychiatric clinic, elevated highway,
and a motley view of Manhattan on
the other side of the East Riverto
gather additional trophies.

Top: Alyson Shotz, Transitional Object (figure #1), 2010, and Transitional Object
(figure #2), 2011. Dichroic acrylic, 63 x 45 x 31 in. each. Above: Spencer Finch,
Lunar, 2011. 2 solar panels with charger, light-emitting diodes, lamp fixture,
lead, aluminum, stainless steel, and polycarbonate, 136 x 200 x 138 in. Both
from Light & Landscape.

Eccless exhibition featured abstract


biomorphic, abstract geometric,
and figurative work. Various materials were also on display, including
concrete, polished steel, bronze,
and painted metal. Some work fea-

tured closed volumes (Bourgeois


and Gupta), the traditional approach
to sculpture. Other work was built
up of open planes (Katja Strunz and
Neto), a category developed exactly
a century ago in Picassos cardboard

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employed for an unexpectedly large


number of sculptures displayed
inside the big tent (which could be
accessed for a whopping entrance
fee of $40, including bus or boat
transport to Randalls Island). The
idea of geometrically regularized
dispersion, embodied by Ganders
sculpture, can be traced back
to certain pictures by Salvador Dali.
Jeppe Heins polished steel Geometric Mirrors I (2010), on the other
hand, is an elegant work of classic
geometric abstraction. Its folded
and cut-through reflective surface
adds, as in certain works by Dan
Graham, just the right amount of
visual confusion, mixing up surface
and depth, nature, and the
machine-made.
Michal Amy
N e w Yo r k
Top: Rathin Barman, Untitled, 2010. Welded iron rod structure and found construction debris, 20 x 18 x 7 ft. Above: Jeppe Hein, Geometric Mirrors I,
2010. Aluminum, stainless steel, and high-polished steel, 78.75 x 39.25
x 39.25 in. Both from Frieze Art Fair Sculpture Park.

and sheet-metal guitars. Other


sculptures were constructed of lines,
including Tomas Saracenos Pollux
(2012), one of the better works
in the show, which subtly acknowledged its roots in Synthetic Cubism
and the engineering strategies of
Kenneth Snelson. Though different
approaches appeared, the selections

had an air of dj vu. Joshua Callaghans Two Dollar Umbrella (2011),


apparently broken by a sudden
gush of wind, was too reminiscent
of Oldenburg (a banal object on a
monumental scale). Ryan Ganders
Everything is Learned (2010), a
sunburst of concrete cones, uses
the same base, cheap material

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Carol Mickett and Robert


Stackhouse
The Lab Gallery

Breath of Water, an installation created by the collaborative team of


Carol Mickett and Robert Stackhouse
for the window space of The Lab
Gallery, consisted of thin strips of
light-colored wood radiating outward from a central nexus. Attached
to beams above them and gently
moving, the strips echoed what might
be described as the winds breath
over water. No one was allowed to

enter the space; viewers could only


see the installation from the outside (like looking into an aquarium
tank). The sculpture impressively
combined philosophical notions with
subtle, experimental representations of the idea of waterMickett
brings a background in ancient
philosophy to her partnership in art
with Stackhouse, a more conventionally trained artist. For about 10
years now, the two have collaborated
on projects that promote intellectual
ideas through physical embodiment.
Here, the duo saw water architecturally. The enclosed space was
filled, in theory but not in practice,
with water that would flow out into
the street if the glass were broken.
Breath of Water alluded to the work
of two Greek philosophers, Thales
and Heraclitus. Thales spoke of the
omnipresence of waterthe notion
that everything is waterand recognized waters ability to change
shape. Heraclitus articulated the idea
that you can never step into the
same stream twice, a concept that
emphasizes flow and time; his
observation implies that the self is
deeply affected by change and does
not remain constant. As a structure,
the sculpture was simple but effective, influenced by the currents of
air that made their way inside the
space. It was abstract and did not
show water, or its movement, in any
directly recognizable way, but the
idea of water, its ability to change
subtly, was beautifully portrayed.
Breath of Water merged ancient
ideas with a physical construction
very much in line with contemporary works of a Minimalist bent.
Watching the paper-thin strips of
wood moving, the viewer was
reminded of the seemingly effortless
rise of the sea. This image, in turn,
conjured the effect of windor
in Mickett and Stackhouses term,
breathon water. Their partnership was especially effective in this
work with its conflation of idea and
image, concept and structure. The

LINDA NYLIND, COURTESY LINDA NYLIND / FRIEZE

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Left: Carol Mickett and Robert Stackhouse, Breath of Water, 2012.


Florida cypress and paper, 8 x 35 x
18 ft. Below: Jess Soto, Mural,
1961. Paint, wire, and mixed media
on wood, 278 x 493 x 62 cm.

visuals succeeded in part because


the piece embodied knowledge of
timeless philosophical concepts and
in part because its construction was
highly current, addressing the visual
language of our time.
Jonathan Goodman
N e w Yo r k

BOTTOM: 2012 ARTISTS RIGHTS SOCIETY (ARS), NY / ADAGP, PARIS

Jess Soto: Paris and


Beyond, 19501970
Grey Art Gallery,
New York University

Venezuelan-born Jess Soto, a major


figure in avant-garde, mid-20th-century sculpture, left his country for
Paris in 1950. As the intriguing and
historically informative Jess Soto:
Paris and Beyond, 19501970
points out, he took quickly to the
progressive Parisian milieu, making
friends with Yves Klein and Jean
Tinguely. The artists in their circle,
including, on the periphery, composer Pierre Boulez and critic Pierre
Restany, looked at the found materials of urban life as a solution to the
privileged use of traditional art
mediums. Though there was a strong
leftward slant to their philosophy,
coming as it did after the defeat of
fascism, most of their attention
focused on dematerializing the art
object, that is, conceptualizing the
creative impulse to reflect artistic
process over completed work. Soto,
who began as a painter influenced
first by Czanne and then by Mondrian, soon moved into the realm

of three dimensions, although his


sculptures, developed through overlays, tended toward planar frontality
and shallow depth.
La cocotte (1956), for instance,
consists of black and white stripes
painted on sharply angled pieces
of wood. As the work rotates on a
string, the planes shift and change,
prefiguring Lygia Clarks work with
folding geometric panels. In response
to the ideas of Klein and the other
New Realists, Soto began to manufacture sculptures made of recycled
materials: wood, metal, wire, and
nails. These pieces might lack the
geometric precision of the earlier
overlays, but they gain a rough-andtumble integrity from Sotos refusal
to shape them according to any

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formalist need. The raw intelligence


of Mural (1961), a mural-size diptych made in one day, demonstrates
their effectiveness. The left side contains black-painted materials taken
from the streetrefuse, building
supplies, pipes, and brooms. On the
right half, tangles of barbed wire
and black geometric forms are suspended in front of Sotos signature
background of black and white vertical lines. This part of the sculpture
represents an ongoing attempt
to dematerialize the art object and
bring the viewer in as an active
constituent whose movement causes
swift, seemingly motion-filled
changes in the work.
For me, the most exciting sculptures in the show were the overlays,

which Soto began soon after moving


to Paris. By overlapping two or three
planes of painted Plexiglas, he did
two things: first, he created patterns
that rely on contrasting imagery
achieved through layered depths;
and second, he made viewers complicit in the experience of his work.
Sotos angled lines, usually in front
of a background of vertical stripes,
move along with the viewer, an
action that further destabilizes the
object by negating single-point
viewing. Other outstanding pieces
include muddles of wire placed in
front of similar backgrounds of alternating black and white stripes
one of the most beautiful is Untitled
(Writing) (1962). Completely nonobjective but also highly lyrical,
Writing compels the viewers interest by abstracting language to simplified, linear forms. Early on, Soto
was able to see how movement and
depth would make his imagery more
intricate; strikingly, he was able to
parlay this insight into three-dimensional images for the length of his

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career. Because he is not fully known


in America, this show performed a
considerable service, showing Soto
as the influential, highly creative
artist that he was.
Jonathan Goodman

Left: Anonymous, Root with Suggestive Rib Cage Form, late-19th


century. Carved and painted root, 38
x 6 x 4 in. From Carved and Whittled
Sculpture. Below: China Blue, Firefly
2.0, 2010. Pager motor, flashing LEDs,
and guitar strings, installation view.

C o lu m b u s , O h i o

Carved and Whittled


Sculpture: American Folk Art
Walking Sticks from the Hill
Collection
Columbus Museum of Art

Former Cranbrook Academy of Art


sculptor-in-residence Michael Hall
has challenged art world conventions
for more than four decades. Though
he has created a significant body
of work during that time, his efforts
as a critic, curator, and collector have
been arguably more influential.
In the 1960s and 1970s, he played
a key role in shifting consideration
of American folk art from old-timey
curio to artistic expression demanding to be judged through the lens
of contemporary aesthetics. In the
1980s and 1990s, he rescued the
output of mid-century artists working
in the Great Lakes region from virtual
oblivion by using postmodern concepts of identity, site-specificity, and
what we now term relational aesthetics. More recently, he surveyed
creations of the First Peoples for the
Canadian government. This winter,
Hall was at it again, mounting an
exhibition of hand-carved walking
sticks from the collection of Pamela
and Tim Hill.
The show featured 105 examples,
created between the mid-19th and
mid-20th centuries, which Hall proposes be viewed as sculpture at its
most elemental. In good curatorial
fashion, he parsed out the objects
according to categories of style,
iconography, and form. One category,
Intimate Observations, included
works inspired by close encounters
with plants, animals, and people.
Another category consisted of
Reflections of Shared Identity. These
works reference various aspects of

community, from the patriotic symbols of the national imagination


to the hermetic codes of fraternal
organizations, to the allegories of
Biblical parables.
A crucial section of the exhibition
gathered works that could be identified as the creations of individual

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carvers. These pieces demonstrate a


unique, sustained vision on the part
of their creators, many of whose
names are known to us. As sociologist Gary Alan Fine, who credits Halls
role in mapping the aesthetic terrain of contemporary folk art, notes
in his study Everyday Genius: SelfTaught Art and the Culture of Authenticity, the creation of the label (in
sociological parlance subjectivity)
of artist is essential to the recognition of certain cultural productions
as belonging to that rarified activity
known as art, a category that now
includes the self-taught.
Halls claim sinks or swims on the
evidence of the works themselves.
Here, their sophisticated engagement
with form and material persuaded.
The late-19th-century Root with Suggestive Rib Cage Form, for instance,
bends and twists the wood into a
cohesive visual unit whose nervous
lines evoke the figures of Giacometti. Mans Head Over Ball in Cage
and Geometric Shaft (1930), carved
from a single piece of wood, includes
three free-floating balls contained
in a cage near the top, a column

that reads like a mash-up of Romare


Beardon and Brancusi.
In his essay, Hall notes, As physical forms in space, carved walking
sticks provide a rare insight into
sculpture as an art of transformation. This exhibition testified to the
veracity of his statement.
Vince Carducci
Newport, Rhode Island

China Blue
Newport Art Museum

Over the last 10 years, sound has


established itself on solid footing,
solid enough to be considered seriously by museums and critics as
another form of sculpture. During
this same period, China Blue, a forerunner in the so-called contemporary sound art movement, began
to think about scientifically mining
this territory in the most original
and unorthodox ways.
After beginning as a painter, China
Blue realized that creating with
the implied structure of energy in
space, the geography of sound, was
her true calling. Using recording
devices, she began to study sounds
above and below the frequencies
detectable by the human ear. Works
capturing the Eiffel Towers vibrations
(2007) and the underwater sounds
pervading Venices canals during
aqua altaexhibited at OPEN XI on
the Lido in 2008brought her to
international attention and set the

Sculpture 31.9

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COURTESY NATIONAL GALLERY OF CANADA, OTTAWA

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stage for two grants from NASA, as


well as a 2012 New Genres grant
from the Rhode Island State Council
of the Arts.
China Blue continues to study and
sample acoustic phenomena. In
2009, she recorded the sounds of
NASAS Vertical Gun, a device that
tests hypervelocity impacts. In
2011, she recorded sounds heard in
the atmosphere from a weather balloon, using microphones embedded
in an artificial head. Recently, she
has widened her purview to include
the biometric. In Hygro Rhizome
(2010), a biomimetic work first
exhibited at the University of Rhode
Island, she constructed a group
of six interconnected, root-like structures, each with electronics that
monitor the water level in a beaker.
As long as there is water, the rhizomes remain illuminated.
Firefly Projects, China Blues
most comprehensive and complex
exhibition to date, drew inspiration
from the iconic summertime insects.
The biometric fireflies in the sculptural works called attention to
dwindling firefly populations in the
real world, where they are threatened by light pollution and urban
sprawl. Housed in a small, darkened
gallery, the installation became
an otherworldly experience of eerie,
data-driven sounds, twinkling blue
lights, and electrifying photographs.
The nighttime photographs collected in Firefly Cloud depict clusters
of wind-blown LEDs programmed
with flashing light patterns that
imitate the signals emitted by fireflies in their quest for a mate. Firefly
Book, its spine illuminated by 3Dprinter fireflies terminating in blinking LEDs, added more drama, but
two 7.5-foot trees, their wooden
branches blanketed with flashing
fireflies, commanded pride of place
in the show. The work was constructed from recycled power cables,
wooden dowels, 3D-printed fireflies,
LEDs, and speakers. The blinking
lights and soothing audio, both

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programmed to mimic the rhythmic


mating call of the North American
firefly, transported viewers back to
nostalgic childhood days of collecting fireflies in a jar.
Edward Rubin

As David Askevolds recent retrospective Once Upon a Time in the East


demonstrated, Pop, Minimalism, and
media culture could all be part
of conceptual art. As Askevold com-

installation captures the spirit of the


1970s remarkably.
Photogenic print stills from Askevolds performance Johannes Keplers
Music of the Spheres Played by Six
Snakes (197174) depict the snakes
sliding eerily among ball bearings
and stringed instruments. Other stills
reveal Askevolds identification
with the ghosts of Hank Williams
and Hank Snow, while The Poltergeist
(197479) features fake ectoplasm.
In Once Upon a Time in the East
(1993)one part of The Nova Scotia
Projectaerial photographs from

Askevold collaborated with former


student Tony Oursler (Mike Kelley
was another student) to produce
video clip exchanges. Completed
after Askevolds death by Oursler,
the piece is a crazy quilt of wideranging images.
Part of the Museum of Modern
Arts seminal Information show in
1970, Askevolds work was near mystical, reflecting a time of great
cultural and social change in North
America. Once Upon a Time in the
East allowed viewers to understand
how his innovations with sound,

mented in 2008, I never thought


conceptual art should be a style.
I thought of it as a way to question
assumptions and to comment on art
history, and also on subjects outside
of art, in order to expand the boundaries of art beyond the tastes and
styles that had been dominant for
so long.
Dont Eat Crow (1994), a little theater (actually a store-bought Canadian Tire shed) sat in the center of
one exhibition space at the National
Gallery of Canada. Sounds emerged
as viewers approached, tempting
them to enter and take a seat to
watch the video. A passive, searching
voice recounts the correspondence
between a would-be writer and her
much-hoped-for future publisher over
images of a crow, the trickster
in native lore. This beautiful, elegiac

the Department of Fisheries covered


an entire wall, investigating the temporal, spatial, and social dimensions
of the Canadian coastline. 3 Spot
Game (1968), inspired by an article
in Scientific American, consists of
Plexiglas sections strung together
with cords. Aluminum bars placed
on the floor are engraved with the
rules of the game.
Among the video works in the show,
Learning About Cars and Chocolate
(1972) was the most amusing. We
see a young Askevold in conversation
with his young London dealer, Jack
Wendler, who leans out of a window;
cars and traffic are moving along
below. The discussion centers around
a car that Askevold has just bought.
Its like an in-joke, and the video ends
when the bag of candy has been
entirely consumed. Late in his career,

David Askevold, installation view

O t tawa, Canada

David Askevold
National Gallery of Canada

of Once Upon a Time in the East,


201112.

video, film, performance, media,


sculpture, and installation were
all about experimentation and
revealed his work as a basic questioning of what artistic practice
could be.
John K. Grande
S a n G i m i g n a n o , I ta ly

Antony Gormley
Galleria Continua

San Gimignano, a historic town in


the heart of Tuscany, recently hosted
an absorbing exhibition of new and
older works by Antony Gormley.
At the heart of the show was Vessel,
a site-specific work conceived for
the former theater and cinema that

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Left: Antony Gormley, Another Time


XV, 2011. Cast iron, detail of installation. Below: Antony Gormley, Vessel,
2012. Cor-ten steel and steel screws,
370 x 2200 x 480 cm.

consider space and human identity.


Only viewer reactiontypically in
the form of silent dialoguegives
meaning to these clones. Realized
in collaboration with the local municipality, Another Time offered yet
another example of how public sculpture has abandoned its commemorative roots. In Gormleys hands, the
human figure becomes a reflexive
field that stimulates self-awareness
while encouraging deeper investigation into our individual and collective position in the larger world.
Laura Tansini
Zurich

Koenraad Dedobbeleer
Mai 36 Galerie

forms the central part of the labyrinthine Galleria Continua space. Made
from 39 interconnecting rectangular
steel boxes, the structure interpreted
the towns medieval skyline as a
reclining male figure. Four other new
works filled the first room of the
gallery, exploring how bubbles
coalesce to create cloud forms. Here,
the principles of natural growth and
structure are applied to the body.
These sculptures were complimented
by Sum, made from a network of
solid iron polyhedral forms arranged
on the floor. In this work, Gormley
uses the formal purity of Modernist
abstraction to evoke inner states.
Two marble figures, installed in
the garden, test the evolution of art
in the age of mechanical reproduc-

tion, transforming bone, skin, and


muscle into compositions of geometric crystalline rigor not dissimilar to
the structure of marble itself. Gormleys vision of the body is inspired
by tradition, but at the same time,
it reflects new knowledge about, in
this case, the sub-optical properties
of matter.
For 20 years, Gormley has investigated space and time using the
human figure (usually an iron cast
of his own body) as a unit of measure. In San Gimignano, his iron figures quietly invaded streets, squares,
gardens, and the top of a tower. For
Gormley, the figures in Another Time,
as well as their predecessors, are
empty, meaningless forms
mute units of measure designed to

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Making sculpture from found objects


has become as common today as it
was shocking when Duchamp created his first readymade in 1915. It
takes something fresh, different, and
lets face it, unique, to make this sort
of sculpture interesting. Belgian
artist Koenraad Dedobbeleer mostly
delivers with constructions re-assembled or slightly altered from pieces of
functional objects. His most successful and engaging works use parts of
old tools or furniture, which he transforms and reconstructs in ways so
absurd that the original object and
its function are completely lost,
though the aura of the past remains.
As the title of the show, Some
Material Culture Following a Random
Method Based on Aleatory Rules,
makes clear, Dedobbeleer is attracted
to the history of craftsmanship and
the meanings behind objects.
Like many of Dedobbeleers sculptures, Resigned Astonishment, a
chair-like object that is neither chair
nor functional, pays homage to
Modernist design. The wood comes
from an old table, but no one would

know the source by looking at the


sculpture. While transforming the
old into the new, Dedobbeleer also
points to Ornament and Crime, Adolf
Looss 1929 text criticizing ornamentation and promoting return to a
simple, craft-conscious modern art.
Many of Dedobbeleers titles consist
of phrases taken directly from Loos.
A marble tabletop reminiscent of
caf tables at the turn of the 20th
century hangs on the wall like a
painting. Revolution Always Comes
From Below quotes a fragment from
another Loos text, written in 1897,
which continues, and in this case
below is the craftsmans workshop.
The work contains a multi-layered
meaning and play on words: politically, the title alludes to the idea
that change starts with the demands
of the people rather than the initiative of their leaders, which may be
a nod to recent worldwide protests.
The objects physical position is
moved from belowthe top of a
small tableto a higher location
the wall.
Duchamp was not particularly
interested in the visual qualities of
readymades, but Dedobbeleer
indulges in the beauty and harmony
elicited by his juxtapositions. What
may be more revolutionary, however,
is his return to craftsmanship at
a time when the art world mostly
champions artists who rely on prefabrication and outsourcing. Dedobbeleer may not work in a traditional
way, but he not only chose the
pieces, he also combined them in
poetic reconfigurations.
The historical patina of the source
objects allows viewers to dream
around and create personal associations for each piece, maybe recalling
objects from their youth. In many
regards, Dedobbeleers respect for
material culture, meaning, and
craftsmanship is the unique element
in his work, a concept that has
become rather obsolete in contemporary art.
Olga Stefan

ELA BIALKOWSKA, OKNO STUDIO, THE ARTIST, COURTESY GALLERIA CONTINUA, SAN GIMIGNANO / BEIJING / LE MOULIN

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Left: Koenraad Dedobbeleer, Resigned


Astonishment, 2011. Wood, varnish,
and enamel, 81.5 x 68.5 x 72.5 cm.
Below: Motohiko Odani, Hollow:
Pianist/Rondo, 2009. FRP, urethane
paint, and mixed media, 154.5 x 496
x 62 cm.

To k yo

TOP: SAMUEL MIZRACHI, COURTESY MAI 36 GALERIE, ZURICH / BOTTOM: KIOKU KEIZO, COURTESY MORI ART MUSEUM

Motohiko Odani
Takamatsu City Museum of Art

Sculptor and multimedia artist


Motohiko Odani is a leading young
voice in the Japanese art scene. He
says that he grew up captivated by
American cinema, including the horror genre and the films of David
Lynch. His other inspiration comes
from anime, computer games, and
digital media. Odani is highly
knowledgeable about digital technology and keeps his eye on current
happenings in the international art
world. He became a professor of
art at Kyoto University of Art and
Design in 2003 and now teaches at
Tokyo (National) University of the
Arts. When he uses English titles for
his work, he borrows vocabulary
from literature, as well as from computer games. His talks and writing
about art are as eloquent as his
work. Odanis traveling exhibition,
Phantom Limb, originated at
Tokyos Mori Art Museum in 2010;
when it reached its final destination, the Contemporary Art Museum
Kumamoto, at the end of 2011, curators inserted an additional piece

a group of malformed Noh masks


(2008) that added another level
to his renderings of latent thoughts
and emotions, pain and fear.
Hollow Series (200910) enters
the world of adolescent girls. Though
realistic, these large-scale works
are created from pure white ribbons
of FRP (fabric-reinforced plastic),
which allows them to be hollow. The
images are not of vibrant youth:
a girl on a unicorn possesses an

unknown strength in her shining


glass eyes, yet she is wrapped in sadness and uncertainty; two girls,
perhaps twins, hang light as feathers
high on a wall, while their eyes look
elsewhere; and the hands of
pianists droop like decaying vegetation against the wall. Taken as a
whole, the series hovers between
the tangible moment of vulnerable
young girls coming of age and the
ghostly dream of another reality.
Odanis uneasy aesthetic combines
discomfort, disease, and the
grotesque. Human Lesson Dress 01
(1996) consists of a wolfskin dress
with a pair of heads attached to
the shoulders. In Double Edge of
Thought, Dress 02 (1997), long
twists of human hair, presumably a
womans, create a gown imbued
with vindictive attachment, sexual
desire, and sacrificial offering. In
No. 44 (The Mysterious Stranger by
Mark Twain) (2010), a video of blood
bubbles (in part from the artists
own blood, is accompanied by end-

lessly repeated, numbing sound. It


is unnerving, yet eerily beautiful to
watch the red bubbles keep foaming,
popping, and leaving marks on the
background, which starts out plain
white at the beginning of each
cycle.
Terminal Documents (2011) experiments with digital media. On the
red water filling a large vessel in
the center of a dark room, projected
images of a constantly moving whirlpool of waves produce an apparent
foam of white lights. In the East,
such an image might symbolize the
pond of hell. In another work, the
walls of a red pool serve as screens
for two identical videos of a young
girl in a red dress reading in a whisper from E.T.A. Hoffmans Der
Sandmann translated into Japanese.
Even without firsthand knowledge
of the novel, I was swallowed up by
the constantly moving waves.
Unlike artists who treat comic figures as heroic, cultural icons, Odani
makes his characters struggle under
the weight of history and reality.
His work constitutes a brave attempt
to search for a genuinely contemporary Japanese voice that more honestly reflects the current situation
of Japanese youth.
Kazuko Nakane

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THE WORLDS NEWSSTAND

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P E O P L E , P L AC E S , A N D E V E N T S

ISC BOARD NEWS

STAFF NEWS

The ISC would like to thank three departing members of the Board

The ISC would like to thank a few staff members who have

of Trustees for their contributions to the organization. David

recently left the organizationDawn Molignano, Kara Kacz-

Handley, founding director of Sculpture by the Sea, served on the


International Affairs committee and worked to strengthen the ISCs

marzyk, Emily Fest, and Josh Parkeyand welcome new team


members. Manju Philip is the new Membership Associate. Her

international exchange. Mary Ellen Scherl, an artist who joined

background in customer service provides exceptional support

the Board in 2010, served on the Perspectives and Membership

to our valued members. She can be reached at <manju@


_____

committees, providing guidance on membership initiatives and


programming. Steinunn Thorarinsdottir, who will finish her service
at the end of the year, has participated on the Awards, International
Affairs, and Membership committees, helping to increase the
ISCs international presence. All three departing members will
stay connected to the ISC.
The ISC is pleased to announce two new Board members.
Deedee Morrison joined in March 2012. Founder of Private Air
magazine, she brings years of experience as a magazine publisher and also has a thriving career as
a sculptor focusing on public art. She serves on the
ISCs Communications committee. Morrison currently
works out of her studio in Birmingham, Alabama, and
is actively showing work across the United States.
Also joining the board is Carla Hanzal, Chief Curator
of Contemporary and Modern Art
Deedee Morrison
at the Mint Museum. She has
over 15 years of curatorial and programming
experience at various institutions, including
the Contemporary Art Center of Virginia; she
previously served the ISC as Deputy Director
of Exhibitions and Acting Director. Hanzal
Carla Hanzal
has curated exhibitions showcasing the works
of Romare Bearden, Andy Warhol, Jun Kaneko,

sculpture.org>.
Candice Lombardi is the new ISC Development
________
Manager. She has many years of development and grant writing
experience at Philadelphia-based nonprofits and can be reached
at <candice@sculpture.org>.
Erin Gautsche, Conference and
_____________
Events Manager, joins the ISC with years of experience in programming and event planning, having previously worked at the
Kelly Writers House at the University of Pennsylvania. She can
be reached at <erin@sculpture.org>.
____________ Amanda Hickok, Sculpture
magazines new Editorial Assistant, graduated from George
Washington University and has had internships at the Phillips
Collection, Harpers Bazaar, the District of Columbia Art Center,
and International Arts & Artists. She can be reached at <amanda@
______
sculpture.org>.
Advertising Services Associate, Jeannette Darr,
________
will be working with the Advertising Services Manager to promote Sculpture and build its advertising database. She can be
reached at <jeannette@sculpture.org>.
_______________
The ISC would also like to thank our dedicated interns, whose
efforts help each department in the organization reach its goals.
The Web and Portfolio department has greatly appreciated the help
of Ryan and Kyle Czepiel, Bernadette Weibel, Navjot Banwait,
Kevin Monaghan, and Rob Zakes. Their efforts have provided support to our members and their on-line portfolios. The Membership
department would like to thank Martha Vincent for all her great
work with the ISCs Outstanding Student Achievement Awards

Chuck Close, and Mark Rothko, to name just a few. The ISC
Board of Trustees and staff extend a warm welcome to both of
these new Board members.
Two Board members have been re-elected by the Board of
Trustees. Chakaia Booker, fine artist and sculptor, has served on
the ISC Perspectives committee, offering insight on the ISCs conferences, educational programming, and award galas. Also to renew
is Bill FitzGibbons, public artist and founder/director of Blue Star
Contemporary Art Center in San Antonio, Texas. He has been
serving as the Vice Chairman of the ISC. Boaz Vaadia has also been
elected as the new chair of the ISCs Membership committee, and
Prescott Muir was elected as co-chair of the Development committee, working with Josh Kanter.

program. Conference and Events has had the pleasure of working


with Madeleine Lesperance and Kristy Cole, who through their
hard work have helped the team plan for the Chicago and New
Zealand conferences. Administration would like to thank Marie
Wdzieczkowski for her help with the Art Sale Project and the ISCs
involvement in art fairs. The Advertising department has appreciated the help of Beverly Wong and Kyle Franklin, who helped
to expand the ISCs advertising database. The Fundraising and
Development department would like to thank Gwendolyn Kurtz,
who has been assisting with funding outreach and grant writing.
The Library, a new ISC department, would like to thank Julia
Cuddahy and Jennifer Galarza for their hard work and dedication
in cataloguing over 2,000 books in the ISCs collection. We wish
all of the interns the best of luck in their feature endeavors.

Vol. 31, No. 9 2012. 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
Street, New York, NY 10019, U.S.A. Tel. 866.473.4800. Fax 858.677.3235.

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___________________________

__________________________
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