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sculpture
November 2012
Vol. 31 No. 9
A publication of the
International Sculpture Center
www.sculpture.org
Do Ho Suh
Tony Cragg
Ken Lum
Liz Magor
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E.V. DAY
Pollinator (Water Lily)
36 x 36
Polished Aluminum
2012
Photo by Jacob Sterenberg
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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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sculpture
November 2012
Vol. 31 No. 9
A publication of the
International Sculpture Center
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Departments
Features
14 Itinerary
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The Potency of Ordinary Objects: A Conversation with Liz Magor by Rachel Rosenfield Lafo
20 Commissions
80 ISC News
Reviews
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Thinking About Things We Cant See: A Conversation with Tony Cragg by Jan Garden Castro
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Boston: Swoon
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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)
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.
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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.
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
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
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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
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
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
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THE MARKET
ate
th
hotel
themarketatrshotel.com
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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
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FUTUREFARMERS: COURTESY THE ARTISTS / MOULENE: BILL JACOBSON, NY / CAI: WEN-YOU CAI, COURTESY CAI STUDIO
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SHOTZ: COURTESY INDIANAPOLIS MUSEUM OF ART / BETBEZE: ART EVANS / MERZ: CLAUDIO ABATE
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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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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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>
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,
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commissions
UP Projects
London
Left: London Fieldworks, Spontaneous City in the Tree of Heaven, 2010. From UP
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Projects The Secret Garden Project. Above: Dan Graham, Triangular Pavilion
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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. 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.
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Net-Work, 2010. Gold and chrome-plated plastic figures on fishing net. View of installation at Setouchi
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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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
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TROND A. ISAKSEN, DO HO SUH, COURTESY THE ARTIST AND PUBLIC ART NORWAYKORO
sculpture
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
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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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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.
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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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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.
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The Potency of
Ordinary Objects
A Conversation with
Liz Magor
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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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Installation view with Racoon, 2008; Tray (stacked lotus), 2007; and Mollys
Reach (detail), 2005.
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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
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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.
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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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
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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.
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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.
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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sculpture
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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glass, 48 x 48 x 23 in.
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JANICE MEHLMAN
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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
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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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
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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.
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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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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.
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CHARLES DUPRAT, COURTESY MARIAN GOODMAN GALLERY, NY AND THADDAEUS ROPAC GALLERY, PARIS/SALZBURG
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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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Available
now from
isc Press
Member Price:
$24.95
Non-Member Price:
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F e st i va l
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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: 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
Masayuki Oda
Lora Schlesinger Gallery
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TOP: ARCELORMITTAL
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GINGER PHOTOGRAPHY, INC., COURTESY THE ARTIST AND LOCUST PROJECTS, MIAMI
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Ruben Ochoa
Locust Projects
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
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B o sto n
Swoon
Institute of Contemporary Art
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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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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.
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C o lu m b u s , O h i o
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China Blue
Newport Art Museum
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O t tawa, Canada
David Askevold
National Gallery of Canada
Antony Gormley
Galleria Continua
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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-
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ELA BIALKOWSKA, OKNO STUDIO, THE ARTIST, COURTESY GALLERIA CONTINUA, SAN GIMIGNANO / BEIJING / LE MOULIN
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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
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P E O P L E , P L AC E S , A N D E V E N T S
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
sculpture.org>.
Candice Lombardi is the new ISC Development
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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
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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@
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Advertising Services Associate, Jeannette Darr,
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will be working with the Advertising Services Manager to promote Sculpture and build its advertising database. She can be
reached at <jeannette@sculpture.org>.
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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.
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>.
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is not an indication of endorsement by the ISC, and the ISC disclaims liability for any claims made by advertisers and for images reproduced by advertisers. Periodicals postage paid at Washington, DC, and additional mailing offices. Postmaster: Send change of address to International Sculpture Center, 19 Fairgrounds Rd., Suite B, Hamilton, NJ 08619, U.S.A. U.S. newsstand distribution by CMG, Inc., 250 W. 55th
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