International Sculpture Center
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Jul/Aug 2017
Vol. 36 No. 6

A publication of the
International Sculpture Center
Detroit: Matthew Angelo Harrison - Museum of Contemporary Art
by Rosie Sharp
Matthew Angelo Harrison, installation view of Detroit City/Detroit Affinities The first order of business when entering Matthew Angelo Harrison's "Detroit City/Detroit Affinities" was to identify what, precisely, was the art. The two freestanding 3D printers, titled The Consequence of Platforms? The oddly misshapen and sometimes incomplete heads 3D-printed in clay throughout the run of the show? The benches and display cases rendered in precision-cut clear acrylic, some intimately intertwined with zebra and wildebeest skulls? To hear Harrison tell it, the answer is any or all of these. "I think that, at this point in time, craft is less important," he said during a talk at MOCAD. "The handcrafted object is changing so much that, when we go to a museum, we barely have an association with that end product. So, I kind of wanted to create a heightened sense of that, by having [the means of production] right in the space." ...see the entire review in the print version of Jul/Aug's Sculpture magazine.

Matthew Angelo Harrison, installation view of "Detroit City/Detroit Affinities," 2016
Chicago: Kemang Wa Lehulere - The Art Institute of Chicago
by Elaine A. King
Kemang Wa Lehulere, installation
view of In All My Wildest Dreams Kemang Wa Lehulere, an artist, performer, photographer, and filmmaker,was born in Cape Town in 1984 to a white father (the son of Irish missionaries) and a black mother when mixed-race relationships and the children of such unions were illegal. The end of apart heid in 1994 came too late for Wa Lehulere’s parents, who were never able to live together, and who both died before he was 12. This personal history conjoined to the larger history of South Africa under apartheid forms the conceptual base of his work, which is never literal. Using a subtle, symbolic method, Wa Lehulere explores the relevance of the artistic gesture in post-apartheid South Africa. His poetic American museum debut, "In All My Wildest Dreams," featured installations, drawings, performance video, and sculpture. Recycled school desks, sketchbook pages, as well as letters written to friends and public institutions form the materials for his highly personal sculptures, which achieve a unique balance between art and activism. Wa Lehulere mines his country’s history through storytelling, communicating narratives of the past (both private and collective) in order to rethink the present ...see the entire review in the print version of Jul/Aug's Sculpture magazine.

Kemang Wa Lehulere, installation view of "In All My Wildest Dreams," 2016
Waltham, Massachusetts: Fred Eversley - Rose Art Museum
by Marty Carlock
Fred Eversley,
UntitledHowever much Minimalism may be out of fashion, the products of that movement still retain the capacity to delight the eye. The 13 works in Fred Eversley’s recent exhibition, "Black, White, Gray," date from the mid-1970s; they eschew chromatic qualities, yet they contain tricks and delights that on analysis produce a kind of optical circus. All but one are made of cast polyester resin, hand-polished to the perfection of an astronomical lens. Most are circular. Solid black, muted gray, or creamy white, their colors illustrate Eversley’s investigations into monochrome. To our puzzlement, although they sink into parabolic shapes, few of them act as a lens. Eversley has urged that these works be moved, handled, seen in different lights and from different angles. Their slick tactility cries out for such interaction. But here, as in any museum, staff members asked us to keep our distance. Even so, the discerning viewer could find a lot to look at. ...see the entire review in the print version of Jul/Aug's Sculpture magazine.

Fred Eversley, Untitled, 1974. Polyester resin, dimensions variable.
New York: Cercle d'Art des Travailleurs - SculptureCenter
by Bansie Vasvani
Cercle d'Art des Travailleurs
de Plantation Congolaise, view of exhibitionThis exhibition of the Cercle d'Art des Travailleurs de Plantation Congolaise (Congolese Plantation Workers Art League or CATPC) could not have been timelier. It arrived at a moment when racial and economic inequalities are center stage, and the voices of the suppressed are being heard. Featuring a series of chocolate sculptures made from molds obtained from 3D prints of the clay originals, the show brought artistry from the rural hinterland of the Democratic Republic of Congo to the U.S. Finally, descendants of Congolese plantation workers, who continue to be exploited long after gaining independence from their Belgian colonizers in 1960, get their due. ...see the entire review in the print version of Jul/Aug's Sculpture magazine.

Cercle d'Art des Travailleurs de Plantation Congolaise, view of exhibition, 2017
New York: Wangechi Mutu - Gladstone Gallery
by Jan Garden Castro
Wangechi
Mutu, installation view of Ndoro Na MitiThe work in Wangechi Mutu's recent exhibition-installed to create a loose circle inside a square space- was aesthetically sophisticated, empathic, and symbolic. On the surface, Mutu's 23 new sculptures are formal and classical, a visual contrast to her sensorial mixed-media installation, A Fantastic Journey, which traveled to four U.S. museums during 201314. The elegant, finished surfaces in burnt sienna, brown, gray, and black conjure the earth-its wounds and diseases, people, and species nearing extinction. Mutu's core message, which includes a hope that we might help the planet and each other, is stronger than ever. Water Woman and This second Dreamer transform personal, mythological, and ethnological elements into stunning bronzes ...see the entire review in the print version of Jul/Aug's Sculpture magazine.

Wangechi Mutu, installation view of "Ndoro Na Miti," 2017
New York: Pipilotti Rist - New Museum
by Sue Canning
Pipilotti Rist, Gnade Donau Gnade (Mercy Danube Mercy) These days, theater and spectacle rule public discourse-a perfect moment for Pipilotti Rist's startlingly prescient critique. Sexy and seductive, soothing and even therapeutic, this survey of Rist's work from the mid-1980s to the present sought to disrupt the normalizing effect of today's mediated, digitalized state of being and its accompanying desire for pleasure and entertainment. The exhibition's subversive purpose was evident in the single-channel videos that initiated Rist's career. Hung at shoulder height from the wall, triangular boxes constructed from wood insisted that viewers stick their heads inside, where they discovered video and sound chambers filled with scenes of excess and abjection. In one, an out-of-focus woman with exposed breasts dances in dizzy fast-forward, while a highpitched voice repeatedly sings, "I'm not the girl who misses much," ...see the entire review in the print version of Jul/Aug's Sculpture magazine.

Pipilotti Rist, Gnade Donau Gnade (Mercy Danube Mercy), 2013/15. Mixed media, installation view.
Vancouver: Simon Starling - Rennie Collection
by Gary Pearson
Simon Starling, Three White Desks "Simon Starling: Collected Works" featured a selection of projects produced between 2005 and 2014. The British artist, who lives in Copen - hagen, received the Turner Prize in 2005 for Shedboatshed, an oftencited work that established his attachment to the journey form-of travel in the conventional sense and of peregrination from one state or stage to another in temporal, cultural, material, formal, and other contexts, constructs, transformations, and meanings. One Ton, II (2005) consists of five handmade platinum/palladium photographic prints. The number of prints produced in this early-19thcentury manner was determined by the quantity of platinum-group metal salts derived from one ton of ore extracted from a vast opencast mine in South Africa. ...see the entire review in the print version of Jul/Aug's Sculpture magazine.

Simon Starling, Three White Desks, 200809. ??3 wooden desks, 3 crates, and print??, installation view.
DISPATCH: Vancouver - Vancouver Biennale
by Roberta Staley

Ai Weiwei, F GrassA stack of five cars, precisely balanced on a twisted old-growth cedar trunk, erupts from a patch of green grass-an incongruity amid the spider web of roadways and elevated rapid-transit lines edging the downtown core of Vancouver. The 33-foot-high, 25,000-pound Trans Am Totem-its massive tree stump supporting the vehicles like an arboreal Atlas-is a tribute to, as well as a critique of the car, North America's enduring symbol of personal freedom and technological innovation. Vancouver-based Marcus Bowcott, creator of Trans Am Totem, has loved cars since he was a teen-especially the Trans Am, which, gleaming and polished, crowns a heap consisting of a BMW, a Honda, a VW Cabriolet, and a Mercedes. "The cars on a pedestal refer, at once, to advertising, longing, and absurdity," Bowcott says. The vulgarity of the crushed vehicles sitting on the still-dignified cedar testifies to the environmental impact of driving ...see the entire review in the print version of Jul/Aug's Sculpture magazine.

Ai Weiwei, F Grass, 2014. Cast iron, 1328 hexagonal tiles, 13.5 x 13.5 meters. From the Van - couver Biennale.


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