sculpture magazine jan-feb 2012
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sculpture
January/February 2012Vol. 31 No. 1
A publication of theInternational Sculpture Centerwww.sculpture.org
Elizabeth Turk
Ays̨e Erkmen
Allan Wexler
http://localhost/var/www/apps/conversion/tmp/scratch_6/%E3%8A%98K%EB%95%853%16t%E5%BD%A8%E4%9A%98%E6%91%BEA%E7%88%A3http://localhost/var/www/apps/conversion/tmp/scratch_6/%E3%8A%98K%EB%95%853%16t%E5%BD%A8%E4%9A%98%E6%91%BEA%E7%88%A3
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The end of the year for a nonprofit board, as for many of us, involves
close scrutiny of the year past: What were our successes and where dowe need to focus our renewed attention? The new year also brings
cheerful anticipation for the events ahead, and for the ISC, there are
many reasons for excitement. Thanks to the foundation that we laid in
2011 (including the launch of ISConnects, a brand-new approach to the
Outstanding Educator Award, a new type of Sculpture article on
, and plans for the 23rd International Sculpture
Conference), the sculpture community is poised for greatness in 2012.
Early in 2012, the ISC will present philanthropist Olga Hirshhorn with the
Outstanding Patron Award. This event, to be held at the Naples Art
Museum, will be a personal tribute to the generosity that Hirshhorn has
shown to countless sculptors and friends of the arts. It is also the first
Patron Award since 2008, when the ISC honored Fred and Lena Meijer, of
the Meijer Foundation, for their contributions to sculpture and society.
We are constantly adding to the list of events in the new ISConnects
program. Since each event in the series varies (in subject, partnering
organization, and attendees), make sure to stay up to date on the lat-
est collaborations and topics. This year, we hope to post the events on-
line so you can follow each discussion on .
The 2012 recipients of the Outstanding Educator Award will also be
announced soon, after being narrowed down from an extensive pool of
educators nominated by ISC members, Sculpture readers, and the pub-
lic. The chosen educators will be honored by the ISC in partnership
with each educator’s school. The Lifetime Achievement Award gives us
another opportunity to celebrate greatness in the field. Each Lifetime
Achievement awardee receives a feature article in Sculpture, where
readers learn more about why the ISC recognizes select individuals as
“masters of sculptural processes and techniques.”
October is an exciting time for the ISC, when upcoming student
artists, winners of the Outstanding Student Achievement in
Contemporary Sculpture, are published in a feature article in Sculpture.
The traveling Student Awards exhibition is always entertaining, and
always unique. This year, the ISC will ship works that include packing
peanuts (a work by Dustin Boise), a 900-pound head (by David Platter),
and a plastic cup (part of Derek Bourcier’s piece).
The 23rd International Sculpture Conference is also held in October.
For those who want to explore partnerships and panels, it is not too
early to plan for “Process, Patron, and Public,” which will be held inChicago on October 4, 5, and 6, 2012.
The ISC has many other activities planned for the new year, all
focused on providing enhanced services for the growing sculpture com-
munity. On behalf of the staff and Board of the ISC, best wishes for a
great and fun-filled year.
—Marc LeBaron
Chairman, ISC Board of Trustees
From the Chairman
4 Sculpture 31.1
ISC Board of Trustees
Chairman: Marc LeBaron, Lincoln, NE
Chakaia Booker, New York, NYRobert Edwards, Naples, FL
Bill FitzGibbons, San Antonio, TX
Ralfonso Gschwend, Switzerland
David Handley, Australia
Paul Hubbard, Philadelphia, PA
Ree Kaneko, Omaha, NE
Josh Kanter, Salt Lake City, UT
Gertrud Kohler-Aeschlimann, Switzerland
Creighton Michael, Mt. Kisco, NY
Prescott Muir, Salt Lake City, UT
George W. Neubert, Brownville, NE
F. Douglass Schatz, Potsdam, NY
Walter Schatz, Nashville, TN
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
Robert Vogele, Hinsdale, IL
Founder: Elden Tefft, Lawrence, KS
Lifetime Achievement in
Contemporary Sculpture Recipients
Magdalena Abakanowicz
Fletcher Benton
Louise Bourgeois
Anthony Caro
Elizabeth Catlett
John Chamberlain
Eduardo Chillida
Christo & Jeanne-Claude
Mark di Suvero
Richard HuntPhillip 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
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Departments
10 Itinerary
16 Commissions
72 ISC News
Reviews
65 Houston: Marc Swanson
66 Troy, Alabama: Duane Paxson
67 Honolulu: Steven and William Ladd
67 Chicago: Aristotle Georgiades
68 New York: William Corwin
69 New York: Jene Highstein
70 Buenos Aires: Juan Miceli
71 Venice: Fabrizio Plessi, Pier Paolo Calzolari,
and Marisa Merz
On the Cover: Elizabeth Turk, Knot 1, 2011.
Marble, 4.5 x 13 x 4 in. Photograph: © Eric
Stoner, Courtesy Hirschl & Adler Modern,
New York.
Features
18 The Line Defining Three-Dimensional Space: A Conversation with Elizabeth Turk
by Rebecca Dimling Cochran
26 Ranjani Shettar: Playing with Creation by Chitra Balasubramaniam
32 Shuli Sadé: Thinking in Time by Jonathan Goodman
36 The Girl Who Liked to Smell Dirt: A Conversation with Lori Nozick by Marty Carlock
40 Ays̨e Erkmen’s Plan B and Other (Not So) Futile Gestures by Berin Golonu
46 Rita McBride: (Re) Negotiating the Public Realm by Christina Lanzl
52 Allan Wexler: The Man Who Would Be Architecture by Joyce Beckenstein
26
sculpture Jan uar y/F ebr uar y 2012
Vol. 31 No. 1
A publication of the
International Sculpture Center
32
40
Sculpture January/February 2012 5
52
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6 Sculpture 31.1
S C U L P T U R E M A G A Z I N E
Editor Glenn Harper
Managing Editor Twylene Moyer
Editorial Assistants Elena Goukassian, Joshua Parkey
Design Eileen Schramm visual communicationAdvertising Sales Manager Brenden O’Hanlon
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)
Each issue of Sculpture is indexed in The Art Index and
the Bibliography of the History of Art (BHA).
isc
Benefactor’s Circle ($100,000+)
Atlantic Foundation
Karen & Robert Duncan
John Henry
J. Seward Johnson, Jr.
Johnson Art & Education Foundation
Joshua S. Kanter
Kanter Family Foundation
Gertrud & Heinz Kohler-Aeschlimann
Marc LeBaron
Lincoln Industries
National Endowment for the Arts
Mary O’Shaughnessy
I.A. O’Shaughnessy Foundation
Estate of John A. Renna
Jon & Mary Shirley Foundation
Dr. & Mrs. Robert Slotkin
Bernar Venet
Chairman’s Circle ($10,000–49,999)
Magdalena Abakanowicz
Anonymous Foundation
Janet Blocker
Blue Star Contemporary Art Center
Debra Cafaro & Terrance LivingstonChelsea College of Art & Design
Sir Anthony Caro
Clinton Family Fund
Richard Cohen
Don Cooperman
David Diamond
Jarvis & Constance Doctorow Family Foundation
Geraldine R. Dodge Foundation
Terry & Robert Edwards
Lin Emery
Fred Eychaner
Carole Feuerman
Doris & Donald Fisher
Bill FitzGibbons
Alan GibbsDavid Handley
Richard Heinrich
Daniel A. Henderson
Michelle Hobart
Peter C. Hobart
Joyce & Seward Johnson Foundation
KANEKO
Ree & Jun 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 MichaelBarrie Mowatt
Manuel Neri
New Jersey Cultural Trust
Ralph O’Connor
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 SilvaKenneth & Katherine Snelson
STRETCH
Mark di Suvero
Takahisa Suzuki
Aylin Tahincioglu
Steinunn Thorarinsdottir
Tishman Speyer
Brian Tune
University of the Arts London
Boaz Vaadia
Robert E. Vogele
Georgia Welles
Elizabeth Erdreich White
Address all editorial correspondence to:
Sculpture
1633 Connecticut Avenue NW, 4th Floor
Washington, DC 20009Phone: 202.234.0555, fax 202.234.2663
E-mail: [email protected]
Sculpture On-Line on the International
Sculpture Center Web site:
www.sculpture.org
Advertising information
E-mail
I N T E R N A T 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 EThe International Sculpture Center is a 501(c)3 nonprofit organization
that provides programming and services supported by contributions, grants,
sponsorships, and memberships.
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.
I N T E R N A T I O N A L S C U L P T U R E C E N T E R
Executive Director Johannah Hutchison
Conference and Events Manager Carla Watts
Conference and Events Coordinator Samantha Rauscher
Office Manager Denise JesterExecutive Assistant Alyssa Brubaker
Grant Writer/Development Coordinator Kara Kaczmarzyk
Membership Manager Julie Hain
Membership Associate Emily Fest
Web Manager Karin Jervert
ISC Headquarters
19 Fairgrounds Road, Suite B
Hamilton, New Jersey 08619
Phone: 609.689.1051, fax 609.689.1061
E-mail: [email protected]
Major Donors ($50,000–99,999)Chakaia Booker
Fletcher Benton
Erik & Michele Christiansen
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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Sculpture January/February 2012 7
About the ISCThe International Sculpture Center is a member-supported, nonprofit organizationfounded in 1960 to champion the creation and understanding of sculpture andits unique and vital contribution to society. The mission of the ISC is to expand
public understanding and appreciation of sculpture internationally, demonstratethe power of sculpture to educate and effect social change, engage artists andarts professionals in a dialogue to advance the art form, and promote a support-ive environment for sculpture and sculptors. The ISC values: our constituents—Sculptors, Institutions, and Patrons; dialogue—as the catalyst to innovation andunderstanding; education—as fundamental to personal, professional, and soci-etal growth; and community—as a place for encouragement and opportunity.
MembershipISC membership includes subscriptions to Sculpture and Insider; access toInternational Sculpture Conferences; free registration in Portfolio, the ISC’son-line sculpture registry; and discounts on publications, supplies, and services.
International Sculpture ConferencesThe ISC’s International Sculpture Conferences gather sculpture enthusiastsfrom all over the world to network and dialogue about technical, aesthetic,and professional issues.
Sculpture MagazinePublished 10 times per year, Sculpture is dedicated to all forms of contemporarysculpture. The members’ edition includes the Insider newsletter, which containstimely information on professional opportunities for sculptors, as well as a list
of recent public art commissions and announcements of members’ accomplish-ments.
www.sculpture.orgThe ISC’s award-winning Web site is the most comprehensiveresource for information on sculpture. It features Portfolio, an on-line slideregistry and referral system providing detailed information about artists and theirwork to buyers and exhibitors; the Sculpture Parks and Gardens Directory , withlistings of over 250 outdoor sculpture destinations; Opportunities, a membershipservice with commissions, jobs, and other professional listings; plus the ISCnewsletter and extensive information about the world of sculpture.
Education Programs and Special EventsISC programs include the Outstanding Sculpture Educator Award, the OutstandingStudent Achievement in Contemporary Sculpture Awards, and the LifetimeAchievement Award in Contemporary Sculpture and gala. Other special eventsinclude opportunities for viewing art and for meeting colleagues in the field.
Director’s Circle ($5,000–9,999)
This issue is supportedin part by a grant fromthe National Endowmentfor the Arts.
This program is made possible in
part by funds from the New JerseyState Council on the Arts/Departmentof State, a Partner Agency of theNational Endowment for the Arts.
555 International Inc.•Ruth Abernethy•Linda Ackley-Eaker•D. James Adams•John Adduci•Osman Akan•Mine Akin•Elizabeth Aralia•Doris H. Arkin•Michelle Armitage•Art Valley•Uluhan Atac•Michael Aurbach•HelenaBacardi-Kiely•Sarah Barnhart-Fields•Brooke Barrie•Jerry Ross Barrish•Carlos Basanta•Fatma Basoglu-Takiiil•Bruce Beasley•Joseph Becherer•Edward Benavente•Joshua Bederson•Joseph Benevenia•Patricia BengtsonJones•Constance Bergfors•Evan Berghan•Ronald Berman•Roger Berry•Henri Bertrand•Cindy Billingsley•Denice Bizot•Rita Blitt•Christian Bolt•Marina Bonomi•Gilbert V. Boro•Louise Bourgeois•Linda Bowden•JudithBritain•Walter Bruszewski•Gil Bruvel•Hal Buckner•Ruth M. Burink•H. Edward Burke•Maureen Burns-Bowie•Keith Bush•Mary Pat Byrne•PattieByron•Imel Sierra Cabrera•Kati Casida•Dav id Cau dill•Jan Chenoweth•Won Jung Choi•Asherah Cinnamon•John Clement•Jonathan Clowes•Robert Clyatt•Marco Cochrane•Lynda Cole•Austin Collins•Randy Cooper•J. Laurence Costin•Fuller Cowles & Constance Mayeron•Robert Crowel•Amir Daghigh•Sukhdev Dail•Tomasz Danilewicz•Arianne Dar•Erich Davis•Martin Dawe•Paul A. Deans•Arabella Decker•Angel Delgado•G.S. Demirok•Albert Dicruttalo•Anthony DiFrancesco•Karen Dimit•KonstantinDimopoulos•Marylyn Dintenfass•Deborah Adams Doering•Yvonne GaDomenge•Dorit Dornier•Jim Doubleday•Philip S. Drill•Laura Evans Durant•Charles Eisemann•Ward Elicker•Jorge Elizondo•Elaine Ellis•Bob Emser•Robert Erskine•Helen Escobedo•John W. Evans•Philip John Evett•IsabelleFaucher•Johann Feilacher•Zhang Feng•Helaman Ferguson•Pattie PorterFirestone•Talley Fisher•True Fisher•Dustine Folwarczny•Basil C. Frank•MaryAnnella Frank•Gayle & Margaret Franzen•Dan Freeman•Jason Frizzell•James Gallucci•Eliseo Garcia•Ron Gard•Ronald Garrigues•Beatriz
Gerenstein•Shohini Ghosh•James S. Gibson•Jacqueline Gilmore•HelgiGislason•Joe Gitterman•Edmund Glass•Glenn Green Galleries & SculptureGarden•DeWitt Godfrey•Roger Golden•Yuebin Gong•Gordon HuetherStudio•Thomas Gottsleben•Todd Graham•Peter Gray•Francis Greenburger•Gabriele Poehlmann Grundig•Barbara Grygutis•Simon Gudgeon•ThomasGuss•Roger Halligan•Wataru Hamasaka•Mike Hansel•Jens Ingvard Hansen•Bob Haozous•Jacob J. Harmeling•Susan Harrison•Barbara Hashimoto•Sally Hepler•Kenneth Herlihy•David B. Hickman•Joyce Hilliou•KathrynHixson•Bernard Hosey•Jack Howard-Potter•Brad Howe•Jon Barlow Hudson•Robert Huff•Ken Huston•Yoshitada Ihara•Eve Ingalls•Lucy Irvine•J. JohnsonGallery•James Madison University•Jivko Jeliazkov•Julia Jitkoff•AndrewJordan•Johanna Jordan•Wolfram Kalt•Kent Karlsson•Ray Katz•CorneliaKavanagh•Jan Keating•Robert E. Kelly•Lita Kelmenson•Orest Keywan•Hitoshi Kimura•Gloria Kisch•Stephen Kishel•Bernard Klevickas•JacquelineKohos•Adriana Korkos•Krasl Art Center•Jon Krawczyk•Dave & Vicki Krecek•KUBO•Lynn E. La Count•Dale Lamphere•Alexis Laurent•Henry Lautz•WonLee•Michael Le Grand•Evan Lewis•John R. Light•Ken Light•RobertLindsay•Marvin Lipofsky•Robert Longhurst•Sharon Loper•Charles Loving•Jeff Lowe•Helen Lykes•Lynden Sculpture Garden•Noriaki Maeda•MikeMajor•Andrea Malaer•Jane Manus•Lenville Maxwell•Edward Mayer•Claire McArdle•William McBride•Isabel McCall•Jeniffer McCandless•JosephMcDonnell•Ceci Cole McInturff•Sam McKinney•Darcy Meeker•RonMehlman•Gina Michaels•Ruth Aizuss Migdal-Brown•Lowell Miller•BrianMonaghan•Norman Mooney•Richard Moore, III•Jean -Pierre Mor in•AikoMorioka•DeeDee Morrison•Keld Moseholm•Serge Mozhnevsky•W.W.Mueller•Anna Murch•Robert Murphy•Morley Myers•Arnold Nadler•
Marina Nash•Nathan Manilow Sculpture Park•John Nicolai•James Nickel•Donald Noon•Joseph O’Connell•Thomas O’Hara•Michelle O’Michael•ThomasOstenberg•Frank Ozereko•Palmyra Sculpture Centre•Scott Palsce•GertrudParker•Ronald Parks•Tarunkumar Patel•Mark Patterson•Jolanta Pawlak•Carol Peligian•Beverly Pepper•Cathy & Troy Perry•Anne & Doug Peterson•Dirk Peterson•Terrance Plowright•Daniel Postellon•Bev Precious•JonathanQuick•Semion Rabinkov•Morton Rachofsky•Kimberly Radochia•Marcia Raff•Vicky Randall•Jeannette Rein•Chase Revel•Anthony Ricci•Ellie Riley•Robert Webb Sculpture Garden/Creative Arts Guild•Kevin Robb•AndrewRogers•Salvatore Romano•Carol Ross•Susan Ferrari Rowley•James B. Sagui•Olou Komlan Samuel•Nathan Sawaya•Tom Scarff•Peter Schifrin•MarkSchlachter•Andy Scott•John Searles•Joseph H. Seipel•Art Self•CarlosSetien•Mary Shaffer•Patrick Shannon•Kambiz Sharif•Scott Sherk•JerryShore•Debra Silver•Daniel Sinclair•Vanessa L. Smith•Yvette Kaiser Smith•Susan Smith-Trees•Stan Smokler•Frances Sniffen•Sam Spiczka•JohnStallings•Robert St. Croix•Eric Stein•Linda Stein•Eric Stephenson•MichaelStearns•Elizabeth Strong-Cuevas•Jozef Sumichrast•David Sywalski•TashTaskale•Cordell Taylor•Timothy Taylor•Richard Taylor•Peter Terry•Ana Thiel•Marta Thoma•Peter Tilley•Stephen Tirone•Cliff Tisdell•Rein Triefeldt•JohnValpocelli•Jon Vander Bloomen•Vasko Vassilev•Martine Vaugel•PhilipVaughan•Kathy Venter•Ales Vesely•Jill Viney•Bruce Voyce•Ed Walker•Martha Walker•Sydney Waller•Blake Ward•Mark Warwick•Andrew White•Michael Whiting•Philip Wicklander•John Wiederspan•Madeline Wiener•W.K. Kellogg Foundation•Wesley Wofford•Jean Wolff•Dr. Barnaby Wright•Joan Wynn•Cigdem Yapanar•Riva Yares•Albert Young•Larry Young•GenrichZafir•Steve Zaluski•Peter Zandbergen•Gavin Zeigler•Glenn Zweygardt
Dean ArkfeldVerina BaxterMelva Bucksbaum & Raymond LearsyGiancarlo CalicchiaCause Contemporary GalleryThe Columbus MuseumHenry DavisTerry Dintenfass, Inc.James GeierAgnes GundDr. LaRue HardingEd Hardy Habit/Hardy LLC
Paul HubbardPaul KleinPhlyssa KoshlandGary KulakNanci LanniChuck LevyJim & Karen LinderSteve MaloneyRobert E. Meyerhoff & Rheda BeckerMillennium Park, Inc.Lowell MillerDavid Mirvish
Prescott MuirMuseum of Contemporary Art, ChicagoJohn P. & Anne NelsonGeorge NeubertSassona NortonSteven OliverTom OtternessPolich Tallix Art FoundryRoger Smith HotelKy & Jane RohmanGreg & Laura SchnackelSculpt Nouveau
Storm King Art CenterThai Metal CraftersThe Todd & Betiana Simon FoundationTmimaTootsie Roll IndustriesUBS Financial ServicesEdward UlhirSteve Vail Fine ArtsHans Van De Bovenkamp LTDUrsula von RydingsvardAlex Wagman
Professional Circle ($350–999)
Patron’s Circle ($2,500–4,999)
Elizabeth CatlettChateau Ste. Michelle Winery
Moore College of Art & DesignMuseum of Arts & Design
Princeton University Art MuseumElisabeth Swanson
Doris & Peter TillesPhilipp von Matt
Friend’s Circle ($1,000–2,499)
Ana & Gui AffonsoSydney & Walda Besthoff Otto M. Budig Family FoundationLisa ColburnRic CollierFreedmanArtGrounds For SculptureRalf Gschwend
Haunch of VenisonMichael JohnsonTony KarmanGallery KasaharaSusan LloydMartin MarguliesMerchandise Mart PropertiesJill & Paul Meister
Gerard MeulensteenNational Gallery, LondonKristen NordahlBrian OhnoClaes Oldenburg & Coosje
van BruggenDennis OppenheimBill Roy
Doug SchatzMary Ellen ScherlSculpture Community/
sculpture.netSebastiánEve & Fred SimonLisa & Tom SmithDuane Stranahan, Jr.
Roselyn SwigTateJulian TaubLaura ThorneHarry T. WilksIsaac WitkinRiva Yares Gallery
http://localhost/var/www/apps/conversion/tmp/scratch_6/%EB%B3%B7%C6%97%E3%85%BD%0EI%07%EB%BA%88%DA%B2%E2%9D%A6S%13%E9%80%80http://www.sculpture.org/http://localhost/var/www/apps/conversion/tmp/scratch_6/H%C4%97aJr&?Rb%E5%B9%A6%EB%A8%98%E5%88%AE%0E,%CD%9E%E8%80%80http://localhost/var/www/apps/conversion/tmp/scratch_6/H%C4%97aJr&?Rb%E5%B9%A6%EB%A8%98%E5%88%AE%0E,%CD%9E%E8%80%80http://www.sculpture.org/http://localhost/var/www/apps/conversion/tmp/scratch_6/%EB%B3%B7%C6%97%E3%85%BD%0EI%07%EB%BA%88%DA%B2%E2%9D%A6S%13%E9%80%80
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10 Sculpture 31.1
P E R R Y : S T E P H E N W H I T E ,
C O U R T E S Y T H E A R T I S T A N D V I C T O R I A M I R O G A L L E
R Y , L O N D O N / L O S C A R P I N T E R O S : M A T T H I A S W I M L E R / K U N S T H A U S
G R A Z , 2 0 0 8 / W I L K E S : C O U R T E S Y T H E A R T I S T A N D G A L L E R I A R A U C C I /
S A N T A M A R I A ,
N A P L E S
Es Baluard Museu d’Art Modern
i Contemporani de Palma
Palma, Majorca, Spain
Los Carpinteros
Through January 22, 2012
Renouncing the notion of individual
authorship, the Cuban collective
Los Carpinteros returns to the collab-
orative guild tradition. Remaining
members Dagoberto Rodriguez and
Marco Castillo take inspiration
from the products of skilled, artisanal
labor, particularly architectural struc-
tures, furniture and design objects,
tools, and construction materials,
though their often subversive works
alter the familiar to focus on the
contradictions between object and
functionality, art and the everyday,
practicality and uselessness. The four
sculptures featured here (in addi-
tion to wondrously morphing water-
colors) include a bed contorted into
the shape of a pretzel, a miniature
pool/aircraft carrier, a missile frozen
in place as it penetrates a wall, and
a group of old-fashioned drafting
tables covered with sheets of water.
Tel: + 34 971 908 200
Web site
Bass Museum of Art
Miami Beach
Erwin Wurm
Through March 4, 2012Every time Wurm produces a sculp-
ture from a real object—cars, pota-
toes, cucumbers, pieces of clothing—
he creates something strange and
wonderful. Embracing the absurd,
his work invites us to consider dif-
ferent possibilities for the ordinary
and familiar. Experiments in perfor-
mance, photography, installation,
drawing, video, and text add another
dimension, pushing the boundaries
of sculpture (particularly in the
“one-minute sculpture” perfor-
mances) by investigating elements
of time, mass, and material form.
Many of the new large-scale sculp-
tures in this show (including a
Drinking Sculpture that only achieves
completion when the audience is
drunk) operate on a theatrical scale,
inviting viewers to enter the per-
vasive weirdness that lurks beneath
the surface of social norms and
unquestioned conventions.
Tel: 305.673.7530
Web site
British Museum
London
Grayson Perry
Through February 19, 2012
Perry fuses art and craft into a multi-layered and complicated montage
of high and low, serious and humor-
ous, conventional and seditious. In
his latest project, “The Tomb of the
Unknown Craftsman,” the Turner
Prize-winning transvestite potter gives
voice to his inner artisan, thumbing
his nose at celebrity and staging
a “memorial to all the anonymous
craftsmen that over the centuries
have fashioned the manmade won-
ders of the world.” In addition to
creating new work—vases, elaborate
tapestries, and a richly decorated
cast iron coffin-ship, he has plun-
dered the museum’s vaults, selecting
a wide array of astonishing objects
from the past two million years
of human history, some funny, some
poetic, and some grim. In construct-
ing this deeply felt homage to what
it means to make—as a calling and
as a means of self-creation, irrespec-
tive of recognition—Perry once
again plays a double role, beneficiary
and decrier of the star system that
has plagued artists since the day
of the first signature.
Tel: + 44 (0) 20 7323 8299
Web site
Carnegie Museum of Art
PittsburghCathy Wilkes
Through February 26, 2012
A 2008 Turner Prize nominee, Wilkes
has raised eyebrows with her highly
charged arrangements of common-
place items and personal artifacts.
In She’s Pregnant Again, a TV com-
bines with a sink containing human
hair, a half-naked mannequin, and
a stroller in a tableau of almost
audible judgment. Formally precise
and essentially diaristic, her work
itinerary
Left: Grayson Perry, The Rosetta Vase.
Above: Erwin Wurm, Guggenheim—
melting. Top right: Los Carpinteros,
Cama. Right: Cathy Wilkes, Untitled .
http://www.esbaluard.org/http://www.bassmuseum.org/http://www.britishmuseum.org/http://www.britishmuseum.org/http://www.bassmuseum.org/http://www.esbaluard.org/
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Sculpture January/February 2012 11
employs a difficult and coded visual
language, making it what at least
one critic has called the kind of
contemporary art that “pundits paydeference to and that deep down
nobody really likes.” But uncompro-
mising introspection is not an end
in itself for Wilkes; as jarring as her
work can be, it exerts a strong
psychological pull that creates com-
monality and shared experience from
isolation. Her first American museum
exhibition demonstrates the power
behind what she calls the unde-
fined “ancient force” of history and
memory.
Tel: 412.622.3131
Web site
Castello di Rivoli
(and other venues)
Turin
Arte Povera 2011
Through February 19, 2012
Spanning the Italian peninsula from
Bergamo to Bari, this grand-scale
retrospective of Arte Povera (eight
shows in all) reunites its founding
theorist, curator Germano Celant,
with the artists—from Anselmo to
Zorio—whose work he christened
in 1967. Celant’s ambitious project
examines this influential movement
(Italy’s most important since
Futurism) not only as a historical
expression of socio-political unrest,
but also as a vital impulse that
continues to grow and inspire new
directions. Three segments of
the show are currently on view. “Arte
Povera International” at the Castellodi Rivoli focuses on international
dialogue and energy, juxtaposing
works by the movement’s exponents
with “responses” by (among others)
Vito Acconci, Bernd and Hilla
Becher, Joseph Beuys, Bill Bollinger,
Hanne Darboven, Rebecca Horn,
Richard Long, Maria Nordman, and
Robert Smithson. “Arte Povera
1967–2011,” a detailed chronology
of the movement’s evolution,
continues at the Triennale di Milano
through January 29. “Arte Povera in
teatro,” at the Teatro Margherita in
Bari through March 4, features dra-
matic installations in a fire-gutted
Stile Liberty theater, with new worksby Fabro, Anselmo, Marisa Merz,
and Calzolari, as well as an encore
appearance of Kounellis’s atmos-
pheric, site-specific Untitled , created
for the space in 2010.
Web site
,
,
Doris C. Freedman Plaza
New York
Michael Sailstorfer
Through February 19, 2012Sailstorfer revels in transformations,
contextual shifts, and spatial appro-
priations. His work reveals an acute
interest in everyday things and
materials from his immediate sur-
roundings, as well as a fascination
with the identity and history of his
sources. Broken down into their
component parts, these items are
deformed, adapted, and re-assem-
bled into powerful spatial installa-
tions. Despite the seeming violence
of Sailstorfer’s approach, his objects
and installations, including his new
creation, Tornado (a densely packed,
30-foot-high storm system made
from truck tire inner tubes), radiate
sentiment and compel emotional
response.
Tel: 212.980.4575
Web site
Haus der Kunst
MunichSculptural Acts
Through February 26, 2012
“Sculptural Acts” features works
by six artists who focus on process.
Responding to the characteristics
and demands of individual materials
(from paper, fabric, and glue to poly-
styrene, plaster, plywood, Sheetrock,
and found objects), Phyllida Barlow,
Alexandra Bircken, Michael Beutler,
Vincent Fecteau, Anita Leisz, and
Top left: Giovanni Anselmo, Entrare
nell’opera. Above: Jannis Kounellis,
Untitled . Both from “Arte Povera 2011.”
Left: Michael Sailstorfer, Tornado.
S A I L S
T O R F E R : J A M E S E W I N G ,
C O U R T E S Y P U B L I C A R T F U N D
_________
http://www.cmoa.org/http://www.castellodirivoli.org/http://triennale.org/artepovera345378/index.php?pag=eventohttp://triennale.org/artepovera345378/index.php?pag=eventohttp://triennale.org/artepovera345378/index.php?pag=eventohttp://www.artepovera2011.org/http://www.publicartfund.org/http://triennale.org/artepovera345378/index.php?pag=eventohttp://www.publicartfund.org/http://www.artepovera2011.org/http://triennale.org/artepovera345378/index.php?pag=eventohttp://www.castellodirivoli.org/http://www.cmoa.org/
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itinerary
12 Sculpture 31.1
Kimberly Sexton create objects that
carry the history of their making.
Born of action—enveloping, tearing,
folding, bending, and compressing—
their eccentric works reveal all,
layer after layer of experimentation,accident, reversal, and correction.
Tel: + 49 89 21127-113
Web site
Kunsthal Charlottenborg
Copenhagen
Simon Starling
Through January 22, 2012
Starling, the winner of the 2005
Turner Prize, is fascinated with
process—both physical and intellec-
tual. While playfully exploring
the links that connect craft, material,
and technique, his work also absorbs
the histories, contexts, and social
nuances of a locale or object. A
single piece or operation can reveal
countless contradictions. Part
utopian visionary and part critic, hedescribes his work as “the physical
manifestation of a thought process.”
Uncovering hidden histories and
relationships while transforming
one object or substance into another,
his sculptures, installations, and
pilgrimage-like journeys draw out an
array of ideas about nature, tech-
nology, and economics. This exhibi-
tion includes two recent works
exploring the notion of performance.
The Excursion, a newly commis-
sioned work, features a special pup-
pet play staged with the assistance
of Copenhagen’s Marionet Teatret.
Tel: + 45 33 36 90 50
Web site
Kunsthaus Bregenz
Bregenz, AustriaValie Export
Through January 22, 2012
After more than four active decades,
Export has taken her place as a key
protagonist of media art. From her
first works, in which she dropped her
real name and launched the Valie
Export brand (named for the Austrian
cigarettes Smart Export), she has
been a maverick of shifting identities
and role-playing. Through perfor-
mances, photographs, actions, sculp-
tures, texts, and installations, she
questions the place of women in
society, the boundaries between the
human body and its environment,
and social and cultural constraints—
in addition to the impact of technical
and electronic media on perception,
communication, and behavior. This
unique retrospective draws on
Export’s archive, made available for
the first time.
Tel: + 43 55 74 4 85 94-0
Web site
Kunstmuseum Bern
Bern, Switzerland
Berlinde De Bruyckere
Through February 12, 2012Among contemporary artists, De
Bruyckere is unique in her ability to
see beyond the form of the human
figure and feel the body as unrelent-
ing physicality—meat, tissue,
and sinew. Not since art imitated
the miracle of the word made flesh
has an artist created such fully
enfleshed works. De Bruyckere, not
surprisingly, is fascinated with
medieval and early Renaissance reli-
gious imagery, and her recent work
Top left: Michael Beutler, Elefant und
Schwein im 3D-Wandteppichstall, from
“Sculptural Acts.” Left: Valie Export,
Fragmente der Bilder einer Berührung.
Top: Simon Starling, Project for a Mas-
querade (Hiroshima). Above: Berlinde
De Bruyckere, Into One-Another to
P.P.P., III.
B E U T
L E R : W O L F G A N G G Ü N Z E L ,
O F F E N B A C H A . M . /
E X P O R T : M A R G H E R I T A S
P I L U T T I N I , ©
V A L I E E X P O R T / V B K ,
V I E N N A , 2 0 1 1 / D E B R U Y C K E R E : M I R J A M
D E V R I E N D T , C O U R T E S Y H A U S E R & W I R T H / S T A R L I N G : K E I I C H I M
O T O A N D T H E H I R O S H I M A C I T Y M U S E U M
O F C O N T E M P O R A R Y A R T
http://www.hausderkunst.de/http://www.kunsthalcharlottenborg.dk/http://www.kunsthaus-bregenz.at/http://www.kunsthaus-bregenz.at/http://www.kunsthalcharlottenborg.dk/http://www.hausderkunst.de/
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Sculpture January/February 2012 13
finds a contemporary idiom for the
Man of Sorrows, a cult image focused
on Christ’s wounds, his physical
suffering, and hence the reality of
his incarnation as a man. This exhi-
bition puts her work in dialogue
with the paintings of Lucas Cranach
and the films of Pier Paolo Pasolini
(another controversial reinterpreter
of religious imagery and moral
codes). The juxtaposition not only
illuminates the tensions inherent
in the devotional image, as sensuality
feeds compassion and carnal longing
penetrates mystical faith, but
also critiques today’s ethical heresies
(or sins against the flesh), from frigid
mass media voyeurism to cold-
blooded torture.
Tel: + 41 31 328 09 44
Web site
Museum of Contemporary Art
North Miami Mark Handforth
Through February 19, 2012
Handforth creates out-of-this-world
encounters just a step away from the
ordinary. His sculptures transform
everyday elements of civic space—
from lampposts and street signs to
traffic cones, metal trash cans, and
Vespas—into distinctive personalities
that challenge perception. Re-scaled
and distorted, behaving in decidedly
abnormal ways, these subtle intru-
sions skew rational perspectives,
introducing a double-edged magic
of wit and pathos that undermines
the complacency of the public realm.
This exhibition, which features more
than 30 works, stays true to
Handforth’s playful spirit, spilling out
of the museum to infiltrate locations
throughout South Florida.
Tel: 305.893.6211
Web site
Museum Tinguely
Basel
Robert Breer
Through January 29, 2012
The roots of Breer’s groundbreaking
animation can be traced to an
unlikely source—the reductive purity
of Mondrian’s abstract grids. Looking
beyond stable harmony to the shift-ing movements behind the stasis,
Breer developed his own take
on hard-edge abstraction in which
irregular forms wrestle against each
other in a permanent state of unrest.
This exhibition follows the course
of his obsession with motion, from
painting to film to another important
body of work, the motion sculptures
or “floats.” Set loose in real time
and space, these simple, minimal
forms move at an almost impercep-
tible speed, each in its own direction.
Once they collide, they trace new
paths in an endless dance of comple-
ment and contradiction, demon-
strating the power of using one force
to define its opposite: movement to
counteract movement, pause
to dramatize speed, and solidity to
visualize flux.
Tel: + 41 61 681 93 20
Web site
Parco Arte Vivente
Turin
Andrea Polli
Through February 26, 2012
Polli and collaborator Chuck Varga
work with atmospheric scientists to
develop systems for understanding
weather, pollution, and climate
change through sound and visualiza-
tion. Many of her works rely on
“sonification,” a process that trans-
lates raw data (about everything
from sulfur dioxide, carbon monox-
ide, and ozone pollution to light-
ning, wave, and wind trends) into
compelling and understandable
forms. Recent projects include a spa-
tialized sonification of New York
storms, a Web site tracking climate
in Central Park, and a real-time soni-
fication and visualization of weather
in the Arctic. This compelling survey
also features two site-specificenvironmental installations. Breather
and Cloud Car —an old Fiat 500 and
a Fiat 126, chosen as nostalgic sym-
bols of a once robust Italian econo-
my—give visible form to air (and its
contaminants), demonstrating how
such “necessities” can “have a very
high cost for the environment.”
Tel: + 39 011 3182235
Web site
B R E E R : C H .
B E R N A R D O T , ©
R O B E R T B R E E R ,
C O U R T E S Y G B A G E N C Y , P A R I S /
P O L L I : ©
P A V T O R I N O
Above: Robert Breer, Float . Top
right: Andrea Polli, Cloud Car . Right:
Mark Handforth, Rolling Stop.
http://www.kunstmuseumbern.ch/http://www.mocanomi.org/http://www.tinguely.ch/http://www.parcoartevivente.it/http://www.parcoartevivente.it/http://www.tinguely.ch/http://www.mocanomi.org/http://www.kunstmuseumbern.ch/
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itinerary
14 Sculpture 31.1
S I G N E R : E M I L G R U B E N M A N N ,
C O U R T E S Y G A L E R I E M A R T I N J A N D A ,
V I E N N A
/ C U R T I S A N D S E G A L L : B I L Y A N A D I M I T R O V A / A I : C O U R T E S Y T H E A R T I S T
Sala de Arte Público Siqueiros
Mexico City
Roman Signer
Through January 29, 2012
A master of the controlled accident,
Signer gives a humorous twist to
the concept of cause and effect. His
“action sculptures” stand the tradi-
tional scientific method of experi-
mentation and discovery on its head,
taking the self-evidence of logic
as an artistic challenge. Following
carefully planned and strictly exe-
cuted and documented procedures,
he enacts and records explosions,
collisions, and the projection of
objects through space—all in the
interest of creating emotionally and
visually compelling events dictated
by time, acceleration, and change.
This show of representative worksalso features several new pieces,
including an homage to David Alfaro
Siqueiros’s colorful murals
(Siqueiros, incidentally, coined the
term “controlled accident”), engi-
neered by miniature helicopters ran-
domly hurling paint onto the walls
of the museum, and Acht Stühle,
which introduces fireworks into the
galleries to toy with the idea of self-
destruction.
Tel: + 5255 55 31 33 94
Web site
Socrates Sculpture Park
Long Island City, New York
Emerging Artist Fellowship
Exhibition 2011
Through March 4, 2012
EAF artists are selected through an
open call for proposals and awarded
a grant and residency at Socrates’
outdoor studio; for many, this is their
first opportunity to work outside on
a large scale. This year’s works repre-
sent a broad range of materials,
methods, and subject matter—from
the ultimate in urban transparency
and an architectural view of hell to a
vitrine of artifacts from a lost world,a triumphal arch made of cast-off
bricks, and a stone-cold flophouse
shelter. Works by Cecile Chong, Joy
Curtis, Nadja Frank, Ben Godward,
Darren Goins, Ethan Greenbaum,
Jesse A. Greenberg, Rachel Higgins,
Roxanne Jackson, Hong Seon Jang,
Jason Clay Lewis, Saul Melman, Jo
Nigoghossian, Nick Paparone, Don
Porcella, Jessica Segall, Walter
Benjamin Smith, Jean-Marc Super-
ville Sovak, Nicolas Touron, and
Nichole van Beek are installed
against the park’s spectacular water-front view of the Manhattan skyline.
Tel: 718.956.1819
Web site
Taipei Fine Arts Museum
Taipei
Ai Weiwei
Through January 29, 2012
It’s no surprise that Taiwan is hosting
Ai’s first major exhibition in the
ethnic Chinese world. Though his
disappearance for 81 days earlier
this year and subsequent confine-
ment to Beijing prevented his full
collaboration (as was planned),
such obstacles have only raised the
protest quotient of this aptly named
show. “Absent” features 21 works
dating from 1982 to the present,
encompassing the entire range of
Ai’s eclectic output—photography,
video, ceramic and marble works,
and altered antiques—every piece
aimed at a different chamber in
the contradictory heart of Chinese
culture. Probing relationships
between past and present, authen-
ticity and imitation, worthlessness
and value, freedom and oppression,
these works push limits and defy
censorship. (Good behavior, however,
is guaranteed by a hand-sculpted
security camera.) Forever Bicycles, a
labyrinthine new installation com-
posed of 1,200 bikes continues the
nuanced critique: every cut andre-assembled bike in the structure is
the product of the Shanghai Forever
Company, a state-run concern.
Ai says that the work represents
the changing face of his homeland,
where the consuming drive for
wealth runs roughshod over hum-
bler values like equality.
Tel: + 886 2 25957656
Web site
Left: Roman Signer, Sandsäule. Top
left: Joy Curtis, Hades. Top: Jessica
Segall, The Soft Finds a Central
Position. Both from EAF 2011. Above:
Ai Weiwei, Forever Bicycles.
http://www.saps-latallera.org/http://www.socratessculpturepark.org/http://www.tfam.museum/http://www.tfam.museum/http://www.socratessculpturepark.org/http://www.saps-latallera.org/
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F K M KThe Games Are Open
Vancouver, Canada
Berlin-based artists Folke Köbberling and Martin
Kaltwasser have been creating “structural interven-
tions” in public places since 1998, often using litter,
trash, and other discarded items. In conjunction with
the 2010 Winter Olympics in Vancouver, Other Sights
for Artists’ Projects approached the artists with the
idea of using materials salvaged from the athletes’
village for a new project.
The wheat board panels that make up The Games
Are Open previously served as protective sheathing
for the village’s brand-new condos. In their current
reincarnation, they take the form of a slowly decomposing bulldozer, one built
specifically with Vancouver’s rainy climate in mind. As the sculpture falls
apart, it is transforming into a makeshift community garden where neighbors
are invited to plant seeds, watch them grow, and harvest the produce. Over
the past year, since its original installation in a large empty lot in Southeast
False Creek across the water from downtown skyscrapers, additional soil
has been added to provide a fertile environment for a mix of seeds, including
several types of grasses, clovers, and rye.
The decomposing bulldozer aims a tongue-in-cheek critique at Olympic
development schemes and current urban projects. As Köbberling notes,
“The bulldozer stands for the tabula rasa, the immediate erosion of land and
buildings.” Although the commissioner, Other Sights, maintains that theproject has more to do with an appreciation of the ephemeral than anything
else, there is no doubt that The Games Are Open simultaneously addresses
community building through a new conception of “green space,” decom-
modification of the art object, and the accessibility of art. This seemingly
simple sculpture depends on participation in order to develop and thrive,
making it a truly public artwork.
A W
Untitled #155
West Bretton, Wakefield, U.K.
Aeneas Wilder’s sculptures are made to be destroyed. At the end of an exhi-
bition, he gathers an audience together, kicks his structure, and watches
what took days to assemble crumble to the ground in a matter of seconds.
16 Sculpture 31.1
K Ö B B
E R L I N G A N D K A L T W A S S E R : T O P : O T H E R S I G H T S F O R A R T I S T S ' P R O J E C T S A N D S I T E P H O T O G R A P H Y , C O U R T E S Y T H E A R T I S T S ; B O T T O M : B A R B A
R A C O L E ,
C O U R T E S Y O T H E R S I G H T S F O R A R T I S T S ’ P R O J E C T S / W I L D E R : T O P : ©
J O N T Y W I L D E ; B O T T O M : ©
J I M
V A R N E Y B O T H : C O U R T E S Y Y O R K S H I R E S C U L P T U R E P A R K
commissionscommissions
Left: Folke Köbberling and Martin Kaltwasser, The Games Are Open, 2010. Wheat board
panels, 6 x 7 x 14 meters. Two views: (top) September 2010; (bottom) October 2011.
Above: Aeneas Wilder, Untitled # 155, 2011. Iroko wood, 4.5 x 18 meters diameter.
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Untitled #155, one of Wilder’s most recent projects, was commissioned byYorkshire Sculpture Park (YSP) and kicked down in November. In this intricate
construction, approximately 10,000 equal lengths of wood were precariously
balanced on top of one another, without fixing, joining, or additional materials.
After the “kick down,” Wilder collected the wood in boxes and will likely use
it again in future projects. As he says, “By limiting the creative act to one sim-
ple material, in ample supply, with clearly defined parameters…a door opens
into a wholly unexplored creative territory.” Creating the illusion of structural
stability, Wilder’s sculptures offer interaction, inviting viewers to enter the
alternate spaces that they create within gallery confines.
Born in Edinburgh and currently based in Japan, Wilder references Zen
through the meticulous construction of his works, which often resemble
traditional Japanese architectural and decorative motifs. (Untitled #155, for
example, looked like a long, winding folding screen made out of wooden
blinds [sudare].) After the earthquake in Japan last spring, many journalists
interpreted his delicate constructions as symbols alluding to the fragility of
the country’s infrastructure. Although Wilder refutes these specific readings,
he admits that “the precariousness of each [work] hints at the delicate balance
of man versus nature.”
The transitory character of Wilder’s work, together with the climactic moment
of the visually documented kick down, serves as a commentary on the inevi-
table and seemingly random cycle of creation and destruction in the world
at large, empowering the artist as creator and destroyer in an increasingly
market-driven art world.
B-N S
Table Cloth
Los Angeles
In the spring and summer of 2010, the University of California, Los Angeles’s
Schoenberg Hall courtyard hosted a unique outdoor installation and perfor-
mance space. Designed by Ball-Nogues Studio, a self-described “integrated
design and fabrication practice operating in the territory between architecture,
art, and industrial design,” Table Cloth was made up of hundreds of unique
coffee-style tables and three-legged stools, linked together to create a kind of
tapestry that hung from the main building of the Herb Alpert School of Music.
Where the tables and chairs met the ground, they could be disconnected from
each other to serve the needs of musical performances, activities, and
gatherings. At the end of the summer, the university community was invitedto dismantle the sculpture and reuse its furniture components.
An exercise in what Benjamin Ball and Gaston Nogues refer to as “cross man-
ufacturing,” Table Cloth was specifically designed to be dismantled and its
parts put to different use. They define this approach as moving “beyond recy-
cling and reuse,” calling into question the very idea of current “green” design.
Although, as Ball remarks, it is overly optimistic to hold Table Cloth as an
exemplary model for the future of environmentally friendly design since “we
probably will not see a world where the components that make up our build-
ings become useful consumer products in their own right…one never knows…
Perhaps someday the wall systems of buildings will
be constructed of frying pans and barbecue grills.”
Together with its transitory beauty and distinctive
reusability, Table Cloth also served an acoustic func-
tion. According to Ball, musicians appreciated the
sculpture for its ability to lower reverberation times
in the somewhat enclosed outdoor performance
space, thereby improving the acoustics of musicalperformances in the courtyard.
The congruity of Table Cloth’s design impressed
not only the UCLA community, but also the American
Institute of Architects, which gave it a 2010 Design
Award. The piece was also listed as a top project
in Americans for the Arts’ 2011 Public Art Year in
Review, further demonstrating the success of this one-
of-a-kind exercise in the site-specific ephemeral.
—Elena Goukassian
Sculpture January/February 2012 17
S C O T
T M A Y O R A L ,
C O U R T E S Y T H E A R T I S T S
Ball-Nogues Studio, Table Cloth, 2010. Plywood, steel, felt, and
hardware, 30 x 20 x 50 ft.
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 . ____________
mailto:[email protected]:[email protected]:[email protected]
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Elizabeth Turk does not fit very comfortably within an
art world that demands rapid production of work for
museum shows, international biennials, and an ever-
expanding range of art fairs. Her meticulously carved
sculptures take years to create, and their fragile nature
makes them difficult to transport. Still, growing num-
bers of admirers have followed her steady progress, and
in 2010, Turk was awarded the prestigious MacArthur
Fellowship. Her newest body of work, four years in the
making, will premiere at Hirschl & Adler Modern in New
York, March 1–31, 2012, during Armory Week.
Sculpture January/February 2012 19
Opposite: Collar 21 (detail), 2010.
Silvec marble, 23 x 14 x 17 in. Above:
Cage #1, 2008. Corton French lime-
stone, 35 x 29 x 12 in.
The Line DefiningThree-Dimensional
SpaceA Conversation with
O P P O
S I T E : ©
E R I C S T O N E R ,
C O U R T E S Y H I R S C H L & A D L E R M O D E R N ,
N Y / T H I S P A G E : ©
J O S H U A N E F K S Y , C O U R T E S Y H I R S C H L & A D L E R M O D E R N ,
N Y
BY REBECCA DIMLING COCHRAN
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20 Sculpture 31.1
Rebecca Dimling Cochran: You present your
work thematically. Earlier series were titled
“Wings,” “Collars,” and “Ribbons,” and
your newest is “Cages.” How do these seriesevolve?
Elizabeth Turk: “Collars” was really about
the connection between small shapes,
conceptually similar to a flock of birds or a
swarm of fish. Then I moved into “Ribbons,”
which I look at as sketches. Taking those
small shapes (and they all work together),
how could they move through space? With
the “Cages,” the next step was taking those
pathways, or systems, and integrating
them with one another. This became the
idea of a cage.
At this point, it’s expanded greatly,
because there are a lot of other intellectual
ponderings that get thrown into the mix.
The “Collars” were not entirely closed
spaces. I liked the idea of an object that
was entirely open in the interior, but with
locked parameters. This touches back on
the “Wing” series, where I tried to keep
the outside dimensions exactly to those of
the original stone, and so, it harks back
to another story. That’s the thread.
RDC: So, the “Cages” are consistent in that
each piece is entirely enclosed, all the way
around, whether in the shape of a circle,
a rectangle, or a square.
ET: Exactly. It’s the line defining a three-
dimensional space, a line that can fold
back on itself, like a circle or band will
define a space. One can wonder, then, if
it is a cage, or a boundary. “Cage” is a
loaded title, so you can take it in a lot of
different directions.
RDC: Is it always a single, unbroken line
that runs through and connects back to
itself?ET: Many of them are, to play with the idea
of the infinite. A couple are bands, or circles,
and one is defined by three circles.
RDC: Each one is carved from marble, a
solid and weighty material that, in your
hands, turns into something delicate, light,
and airy. How did you begin to experiment
with the idea of the void that now perme-
ates the work?
ET: That has a few answers. I like the femi-
ninity of having it really light, although I
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E R I C S T O N E R ,
C O U R T E S Y H I R S C H L & A D L E R M O D E R N ,
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Collar 21, 2010. Silvec marble, 23 x 14 x 17 in.
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E R I C S T O N E R ,
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Sculpture January/February 2012 21
did not start off in that direction, it’s sort
of a by-product. I have the luxury of keeping
my studio in a marble yard that has some
of the best equipment in the industry. Bywatching what is technologically possible,
you can’t help but translate it into your
own work—and so, machinery itself is
pushing me along. You can replicate every-
thing now; 3-D imaging is changing the
topography. You can enlarge work; you can
make it look surreal. You can do anything
that you can do on a computer, but that’s
not interesting to me. The undercuts and
what’s not there are much more interesting.
Plus, the grinding does not send as many
vibrations through the stone, and so I
thought, “How far can I take that? What
is extreme about that?” Philosophically, I
like the idea of emptiness, the Buddhist
concept of emptiness. Things like matrices
or filigree structures seem much more
flexible, much more workable, and these
[ideas] paralleled what was available tech-
nologically.
RDC: Where does your marble come from?
ET: I never go to a quarry and choose stone.
Most of my stone comes to me. I work in
the marble yard at Chiarini Marble and
Stone. Currently, they have a large project
in Texas, a beautiful doorway. The blocks
were cut thick and beautifully, but they
didn’t use all of them so I purchased some.
I like that the stone was not cut for my
project, but for a doorframe. It is a way of
putting my story and my adaptation on
the material. Nature already made this
incredible stone, then it gets chosen for
another purpose. I also have a block that
was once a part of a building in Washing-
ton, DC, and it still has its big iron core
[once the essential connection to thebuilding frame]. It’s cool to think that’s
how buildings were made. Now, we use
veneers. That block is a foot and a half
thick. I like that there is another storyline
being told, not just my own.
If you really get into carving, sometimes
you’ll see a rash of bubbles, really tiny
holes. On a Neoclassical sculpture, you’d
think, “How terrible.” But because my
work is more organic, I think, “That rash
Cage: Still Life, Box 1, 2011. Marble, 13.5 x 9.25
x 6 in.
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of bubbles is the most interesting part of this sculpture. I have to
note it in some way because it is air that was trapped millions and
millions of years ago.” Why not start to have a longer dialogue
with time?
RDC: Have you ever worked with a different stone, like granite?
ET: I mostly use marble because it’s strong enough to hold a form
and soft enough not to kill my arm and shoulder. I have cut into
granite, but I thought, “I’m patient but not that patient.” I admireanyone who uses that material.
RDC: You really test the limits of marble, regularly removing much
more than you leave behind. How do you know when to stop?
ET: It is incredibly scary. I have had nightmares thinking that
I could make a cut, but it would only last for about three days
before the force of gravity would be too much and it would crack.
It is a slow conversation, and some have broken. I think it has
to do with the memory of the stone, because the breaks happened
early on. The sculptures have supports, and when I took them
away, the sculptures broke. If I can’t intuitively feel how the
piece is being held, then it is going to break. I’ve pushed too
hard. There was one really beautiful piece, but it had a long neck
element; I should have cut the support right away and, then,
started carving. It’s a battle with gravity. You start to look at all
structures within that context.
RDC: Do you have the orientation in mind and carve with the block
always resting the same way? For example, if you are making a
vertical piece, do you carve it while the stone is vertical so the
gravitational pull is constant?ET: In the end, yes. Not originally. In the “Cages,” there is no real
sense of up and down, and it is much easier to look at the struc-
ture where there’s no definite, consistent pull. The magic is making
them feel as if they have that loss of solidity, and so, it’s about
the balance between how much you cut the structure and how
much you don’t. The terror for me has always been in the trans-
porting and installation.
RDC: You design all of the bases for your sculptures, and they are
as highly conceptualized as the sculptures themselves. What rela-
tionship between the two are you trying to develop?
ET: It’s all one. I don’t look at the base as a different object. The
ideas should be fluid. The way that it relates should bring out
the parallels and the paradoxes.
22 Sculpture 31.1
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J O S H U A N E F K S Y , C O U R T E S Y H I R S C H L & A D L E R M O D E R N ,
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Cage: Still Life, Sphere 2, 2011. Marble, 9 in. diameter.
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RDC: Paradoxes in material, in shape, in solidity?
ET: All of those. It should also bring into focus the different con-
ceptual aspects of the work. All of the objects are objects of con-
centration. I like scaling the art back down to a manageable size,
where you as a viewer are not overwhelmed. It’s an invitation for
a dialogue with the object, and the base brings it closer to you,at least in these new pieces, because I want that interaction.
RDC: Do you design the bases as you carve?
ET: Absolutely, because they should work together. For instance,
in the “Collars,” I wanted each collar to appear as if it were another
human being in the room. The work was positioned at a height
that allowed you to imagine yourself wearing it or talking to it.
With the “Cages,” we’re doing mirrored stainless bases, so I can
invite you to step up and look in and see your reflection within
the cage.
RDC: In your studio, I noticed a second series of slightly smaller
works in which you combine natural “found” stone with carved
marble. Is this a new direction for you?
ET: The stones are like worn pebbles, but they have quartz veins
running through them. I picked them up because I loved the idea
that they have ribbons in them. It’s just a different context: rather
than air, there is stone wrapped around the ribbon. It’s a beauti-
ful extension of how I was thinking. The stones paralleled the idea
of matter, or the emptiness of matter, and so I started playing
with them, just having them around the studio. As I began to
get into this series, they presented ideas around “intention,” “will
versus intention,” and “weight,” and I liked playing with thoseideas. I call these gesture sketches “Variations.”
RDC: Drawing also seems to be very important to your practice.
Do you consider it as preparatory work for your sculpture, a sepa-
rate practice, or perhaps a bit of both?
ET: Both. I love drawing. It is freedom for me. It prepares me for the
sculpture. It is the conceptual preparation. I start by bringing dif-
ferent ideas together through drawings and collages. For instance,
in collages, I’ll look at a matrix as seen in diagrammed sentences,
corporate structures, political systems, and biological patterns.
These structures are all very interesting because I am seeking
commonalities and new connections across seemingly disparate
ideas. I’ll try to bring a new perspective to concepts—tying them
together, exploring the possibilities of their visual intersections,
Sculpture January/February 2012 23
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E R I C S T O N E R ,
C O U R T E S Y H I R S C H L & A D L E R M O D E R N ,
N Y
Cage: Still Life, Sphere 3, 2011. Marble, 8 in. diameter.
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mapping their common matrices, and then I go to the studio and adapt my
structures. Marble is the traditional home of ideals, right? This is one side of
drawing that is very important.
Then, on an emotional level, after the exhaustion of the physical labor of
carving, the very quiet kind of studiousness in focused drawing is a relief, a
meditation. It is a subconscious form of drawing. It brings the complex ideas
or questions of the day into the matrix that I was studying before I left for
the studio. This way, I can feel the sculpture when I’m doing it and not over-
think. Finally, there are the very large, charcoal drawings, which are about
five feet high and three feet wide. I make these if I’m not carving stone. Or,
if I’m really dirty and not so exhausted, I’ll move from white dust to black. It
requires the same sort of physical energy, but different patterns emerge.
RDC: You have mentioned that you are interested in systems and matrices,
particularly in how one thing flows into the other. How does this translate
into your work?
ET: I’m not entirely sure where it came from. It’s been evolving my entire life.The evolution of this line of questioning is seen in my drawings and collages.
Perhaps the core question is why, as organic, curved, soft creatures, we think
and find a resonance in linear structures. Why do we live in square rooms
rather than round (well, in many places anyway)? Why is the structure of a
monarchy so effective? What do linear systems of order offer our minds and
our souls that complex curves and paradoxes do not? Our comfort with sys-
tems (of order, of communication) informs our palette of responses: emo-
tional and rational. This is why a study of systems, structures, and thus matri-
ces is infinitely intriguing to me.
It was so long ago when I began asking myself these questions. I suppose
the answers have simply moved through their own variations. They generate
a very layered perspective. For some reason, these thoughts are easier for me
to understand if I think of them in physical shapes—for instance, language
in terms of diagrammed forms. And I find the line of
questioning beautiful, because it pushes me to look
for the relationship between all things, the matrix of
how it all fits together. In the end, even the solidity
of the rock is not what it seems.RDC: In 2010, you received the prestigious MacArthur
Fellowship. How has that award changed your work?
ET: I’m incredibly grateful to have been invited into this
group of unbelievably optimistic and inspiring people.
I find that I want to incorporate so much of what they
are thinking about into my work that I’m challenged in
the most inspirational way. The beauty of it, for me, is
that it came at a time of such flux in the world, a very
serious time. To have an injection of that kind of opti-
mism is nothing short of miraculous; it’s hopeful. It’s
amazing to be with people who look at obstructions as
challenges, incredibly invigorating rather than depressing.
I’m trying to carry that attitude through to my own work.
24 Sculpture 31.1
© J O S H U A N E F K S Y , C O U R T E S Y H I R S C H L & A D L E R M O D E R N ,
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Above: Line #3, 2011. Marble, 10.5 x 10 x 11.625 in. Right: Ribbon #17 (Standing) (detail),
2008. Marble, 50 x 8 x 7 in.
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RDC: What is the greatest misconception about your
work?
ET: I wouldn’t say “misconception,” but people have
a barrier about my work in terms of craft. For me, the
idea of craft has been much more about ritual, almost
like Marina Abramović, and the idea of discipline on a
consistent level of repetitive action. We see it in reli-
gion, we see it in so much of human behavior, and yet
when it comes down to crafting an object, somehow
the concept has been lowered. Part of my challenge,
I think, is to reinvent some of the beauty of that aspect
and put it at a different level because it marries the
intellectual and a much more emotional response.
RDC: People think the work is too beautiful.
ET: It stops them. I’ve drawn attention to the object,
and that is purposefully done. But then I have the
challenge: “Now that you’re looking at the object,
expand your thought structurally,” and that’s hard
when there is so much focus on the object. But again,
part of that focus is because of the time it takes, and
that’s the ritual I want to communicate.
RDC: When you say that the mirrored pedestals allow viewers to see themselves within the “Cages” or that the
height of the “Collars” allows people to converse with
the work, your work begins to function conceptually.
Viewers move beyond just looking at the object and
begin to have a physical relationship with it.
ET: Exactly. I want to create conceptual pieces with
intimately carved, beautiful objects so that the indi-
vidual pieces can stand independently, but they become
something larger as a whole. That is something con-
sistent in all of the work.
Rebecca Dimling Cochran is a writer and curator based
in Atlanta.
Sculpture January/February 2012 25
Above: Ribbon #16 (Standing), 2008. Marble, 7 x 33 x 5 in. Left:
Ribbons #11, #13, and #10, 2007–08. Marble, installation view.
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J O S H U A N E F K S Y , C O U R T E S Y H I R S C H L & A D L E R M O D E R N ,
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P H O T
O C R E D I T
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P H O T
O C R E D I T
RanjaniShettar
Bird Song II, 2009. Stainless steel,
muslin dyed in pomegranate skin,
tamarind kernel, and lacquer, 48
x 44 x 51 in.
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Playing with Creation
BY CHITRA
BALASUBRAMANIAM
C O U R
T E S Y T A L W A R G A L L E R Y , N Y / N E W
D E L H I
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Ranjani Shettar says that she turned from
painting to sculpture because “I realized
I had to move around the object, it had to
occupy the same space that I did and there
was no illusion in it. Although I was little
equipped for it, I knew that was what I
wanted.” That conceptual shift set the tone
for her ethereal but monumental installa-
tions combining natural and industrial
materials and modern and traditional
methods. Beginning with Thousand Room
House (2000), a hexagonal honeycomb
formed of pieced-together plastic, Shettar
has become well known around the world
for three-dimensional “drawings” in a host
of materials, including metal, wood,
beeswax, steel, cloth, lacquer, and, more
recently, bronze and steel.
As one walks around her sculptures and
installations, the first thought is of calm,
quiet beauty, a sense of timelessness.
Unusual combinations of materials achieve
a minimal, uncluttered aspect, the separate
elements simply blending and assimilating
into each other to create a composite whole.
Speaking of the process, Shettar says, �