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Sculpture cover


Mar 2018
Vol. 37 No. 2

A publication of the
International Sculpture Center
Philadelphia: Jessi Reaves - Institute of Contemporary Art, University of Pennsylvania
by Becky Huff Hunter
Jessi Reaves, Ginny Casey & Jessi ReavesIn Jessi Reaves's recent exhibition, her sculptural furniture was integrated both formally and functionally with a group of surreal still-life paintings by fellow New Yorker Ginny Casey. Curator Charlotte Ickes described these complementary bodies of work as "two solo exhibitions." The juxtaposition with Casey's intensely colored paintings of unfinished objects and hovering body parts set in cavernous ateliers placed Reaves's work within a context of conversations about the artist's studio and the erotics of the psychoanalytic part-object. A pair of green plastic gardencenter chairs, Chair 1 and Chair 2 (both 2016), faced viewers at the entrance to the exhibition. These two chairs were once one--the original had been roughly split in two, its spine and ribs built out and repaired using sections of driftwood and highly patterned fabric ...see the entire review in the print version of March's Sculpture magazine.

Jessi Reaves, installation view of Ginny Casey & Jessi Reaves,, 2017.
San Francisco: Urs Fischer - Legion of Honor/Fine Arts Museums of San Francisco
by Maria Porges
Urs Fisher, Installation views of The Public & The Private, 2017 Artists' interventions in museum collections come in many forms, but their purpose is often to bring new meaning and resonance to objects that are so familiar as to have become almost invisible. Though Urs Fischer's contemporary perspective on the Legion of Honor's permanent collection thrilled some visitors while horrifying others, director Max Hollein's decision to invite Fischer and his subversions brought a definite liveliness into the Legion's neoclassical marble halls. San Francisco's most traditional museum contains primarily European art from the medieval through the early modern periods, with a large collection of Auguste Rodin's sculptures. Fischer's "The Public & the Private" was part ...see the entire review in the print version of March's Sculpture magazine.

Urs Fisher, Installation views of The Public & The Private, 2017
San Francisco: Nnenna Okore - Jenkins Johnson Gallery
by Jane Ingram Allen
Nnenna Okore, installation view of Osimili, 2017In the Igbo language of Nigeria, "Osimili," the title of Nnenna Okore's recent show, means a huge body of water. Okore, who spent most of her childhood in Nigeria (she was born in Australia), is now a professor of art at North Park University in Chicago. After graduating from the University of Nigeria in 1999 with a BA in painting, she received her MA and MFA from the University of Iowa in 2004 and 2005. In 2014, she returned to Nigeria on a Fulbright grant, and her work continues to reflect that country's culture and environment. She uses wire to shape and join fabric forms, creating malleable and changeable sculptures with multiple parts that relate to the site of their installation. These works bear a certain relationship to those of her teacher, ...see the entire review in the print version of March's Sculpture magazine.

Nnenna Okore, installation view of Osimili , 2017
Washington, DC: Sandra Muss - The Kreeger Museum
by Lilly Wei
Sandra Muss, Portals, 2017Walking through the woods at the Kreeger Museum, visitors encounter a series of seven rather mysterious pillars (the seven pillars of wisdom from Proverbs?), although it takes a moment to identify them since they are only partly there, somewhat like a magician's now-you-see-it, nowyou- don't feint. Made of reflective stainless steel and enclosed by a wire trellis threaded with vines and leaves, the pillars were created by Sandra Muss, an artist based in Washington DC, New York, and the Berkshires. They are the latest addition to the Kreeger's sculpture park and the expanded program for outdoor permanent installations initiated by director Judy A. Greenberg, who recently retired after 23 years. The museum itself--beloved by...see the entire review in the print version of March's Sculpture magazine.

Sandra Muss, Portals, 2017
Chicago: Tania Pérez Córdova - Museum of Contemporary Art
by Elaine A. King
Tania Pérez Córdova, They say a lot, 2015 "Smoke, nearby," the ambiguous title of Tania Pérez Córdova's first major U.S. museum exhibition (organized by José Esparza Chong Cuy), alerted one to the convoluted sensibility at work in the show. Born in Mexico City, Córdova received her BA in fine art, studio practice, and contemporary critical studies at Goldsmiths College in 2005. This concentration in critical studies is of note since concept appears to take precedence over traditional aesthetic, technical, and material concerns in her work, which is based in the belief that visual art is guided as much ...see the entire review in the print version of March's Sculpture magazine.

Heinz Tania Pérez Córdova They say a lot, 2015
New York: Ai Weiwei; Jacques Herzog and Pierre de Meuron - Park Avenue Armory
by Sue Canning
Ai Weiwei; Jacques Herzog
and Pierre de Meuron, Installation view of Hansel and Gretel, 2017 Hansel & Gretel presented a fitting cautionary fairy tale for our post- Snowden world. This large-scale interactive installation in the Wade Thompson Drill Hall of the Park Avenue Armory was the latest collaboration between Ai Weiwei and the architects Jacques Herzog and Pierre de Meuron. Like their "Bird's Nest" stadium for the 2008 Beijing Olympic Games and 2012 pavilion for London's Serpentine Gallery, this commissioned project, curated by Tom Eccles and Hans-Ulrich Obrist, continued to engage with the politics of public space and the psychological effect of architecture.Built in 1861, as the Seventh Reg - iment militia responded to Abraham Lincoln's call to arms, and later the site ...see the entire review in the print version of March's Sculpture magazine.

Ai Weiwei; Jacques Herzog and Pierre de Meuron, Installation view of Hansel and Gretel, 2017
New York: Paul Chan - Greene Naftali
by Jonathan Goodman
Paul Chan, Baigneurs Sans Rien,
2017. Paul Chan, winner of the 2014 Hugo Boss Prize, was born in Hong Kong, raised in Nebraska, and now lives and works in New York. His recent show, "Rhi Anima," featured a group of nylon sculptures that he calls "breathers," carefully engineered, inflated figures set in motion by fans and gesticulating wildly into empty space. These three-dimensional "moving images" demonstrate Chan's willingness to distance himself from screen images, namely, the single-channel videos, projections, and animations that first brought him widespread recognition, which he has increasingly come to consider "regressive." The exhibition title-- a play on Aristotle's De Anima...see the entire review in the print version of March's Sculpture magazine.

Paul Chan, Baigneurs Sans Rien , 2017
San Antonio: Sabine Senft - Artpace
by Susan Oliver Heard

Sabine Senft,
installation view of Borderline
Reality, 2017Sabine Senft's stone towers stood guard at the entrance to "Border - line Reality." Entry portals made from massive river rocks gathered along the West Texas border, they represented the checkpoints that Senft encountered as a small child growing up in West Germany, yet they also recalled checkpoints closer to home between the U.S. and Mexico. Senft juxtaposed two culturesin this narrative exhibition, revealing subtle similarities while giving us a chance to engage the past and avoid the haunting possibility of history repeating itself...see the entire review in the print version of March's Sculpture magazine.

Sabine Senft, installation view of Borderline Reality, 2017

Rutland, Vermont: "Revival: Stone and Steel" - Castleton Downtown Gallery
by B. Amore

Don Ramey, AdamEve I- First Breath, 2015The artists featured in "Revival: Stone and Steel" bring new life to their chosen materials in unique figural, botanical, mechanical, and conceptual ways. Selected by curator Oliver Schemm for their versatile skills and hands-on manipulation of media, they all come from the Rutland and Barre regions of Vermont, where quarrying, carving, and forging are part of the local language. Sabrina Fadial's Burdock, an intricate sculpture incorporating steel and gold leaf, consists of 108 forged steel tapers with curlicue tips emanating from a golden core. The marks of the hand, hammering on what used to be molten metal, are as sensitive as the strokes of a drawing. Wisteria features pods of sheet metal, with welded edges suspended on hand-forged stems. The voluptuous forms, inflated with air. ...see the entire review in the print version of March's Sculpture magazine.

Don Ramey, AdamEve I- First Breath, 2015

Calgary, Alberta, Canada: Jason de Haan - Esker Foundation
by Maeve Hanna

Jason de
Haan, Swallow All The Brains, 2014–
ongoing.The artistic practice of Calgarybased Jason de Haan eludes categorization. His work inhabits an in-between space, a space of antidefinition. His recent exhibition, "Oh for eyes! At night we dream of eyes!" spoke to an interest in exploring non-hierarchical formations of objects. Wandering through the show, pondering, viewers first encountered clusters of crystals apparently growing from speakers. Placed in a large circle, the speakers emitted specific frequencies, vibrating at a distinct thrum. In an adjacent room, a 3D-printed female figure was caught mid-arabesque, delicately sheathed in a layer of salt that covered her face and slithered down her back. In the next gallery, an abundance of ultrasonic humidifiers-- oblong and squat, some refined, others made from recycled and found materials--continuously bathed ...see the entire review in the print version of March's Sculpture magazine.

Jason de Haan, Swallow All The Brains, 2014– ongoing.

The Hague: Thom Puckey - Stroom Den Haag
by John Gayer

Thom Puckey, Thorbecke
monument, 2017Thom Puckey's remarkable Thorbecke monument and "A Matter of Time," his recent, revelatory survey, firmly called attention to the intrinsic heterogeneity of his work. The monument, situated on the edge of a green space near the House of Par - liament in The Hague, confronts viewers with two loosely connected scenarios. The carved marble half depicts Johan Rudolph Thorbecke, a 19th-century politician heralded as the architect of the Dutch democratic state. He sits lost in thought and, having turned away from his desk, gazes endlessly at the seat of government. The other half features a trio of contemporary office workers cast ...see the entire review in the print version of March's Sculpture magazine.

Thom Puckey, Thorbecke monument , 2017

London: Alberto Giacometti - Tate Modern
by Ina Cole

Alberto Giacometti, Bust of
Diego, c. 1956.The U.K.'s first major retrospective of Alberto Giacometti in 20 years, made possible through unparalleled access to the collection and archive of the Fondation Alberto et Annette Giacometti in Paris, contained more than 250 works, including some extremely fragile and rarely displayed pieces. Although Giacometti is revered for his bronzes, the exhibition showcased a number of works in plaster and clay, repositioning him as an artist with an inherently experimental approach and farreaching proficiency in materials. Giacometti arrived in Paris in 1922 from the Italian part of Switzerland, a move that dramatically altered the course of his artistic trajectory. ...see the entire review in the print version of March's Sculpture magazine.

Alberto Giacometti, Bust of Diego , c. 1956

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