Heman Chong, An Arm, A Leg and Other Stories at South London Gallery

Heman Chong Sculpture

Heman Chong, Monument to the people we’ve conveniently forgotten (I hate you). Offset prints on 300 gsm paper, approximately 1 million copies, each measuring 9×5.5 cm, 2008. Courtesy of the artist and Wilkinson Gallery

Born in Malaysia, and currently based in Singapore, An Arm, A Leg and Other Stories now showing at South London Gallery is the first major showing of artist and writer Heman Chong in the United Kingdom. Chong’s approach is engagingly multidisciplinary, and for this new exhibition his work includes elements of sculpture and installation, performance, image and text. SLG put the notion of dialogue and interaction at the forefront of their program, evidenced in particular by the wide array of events and workshops which often accompany their regular exhibition program. Chong’s massive installation in the central exhibition space, alongside his intervention in the gallery bookshop and the creation of an informal residency program as part of the overall project deliver exactly that, opening up multiple opportunities to relate and respond through different facets of the work. Continue reading

Hippie Modernism: The Struggle For Utopia

Hippie Modernism Sculpture

Exhibition view with Haus-Rucker-Co’s “Mind Expander”(1968) in foreground.

The pejorative use of “hippie” has long been the strategy of ad hominem attacks by social and political opponents of the American 1960’s and 70’s counterculture. Labeled as a slacker culture based on love and peace, donning tie-dye with starry, LSD infused eyes is the stock mental picture that still hangs over the era like the cloud of pot smoke. Beside this image, there was a new social movement and great music that remains a holdfast to the collective reality of the decades. Continue reading

Beauty in the Daily Grind

Lisa Walcott Sculpture

Carry On, 2015. Flour, plaster, water, yeast, sugar, salt, oil, bowls, towels, timers, tools, cupboard.
Image courtesy of Lisa Walcott

In her exhibition Living with Myself, kinetic sculptor Lisa Walcott gives concrete form to abstract  sensations (as abstract as, say, the feeling one gets after eating).  There’s a limit to the amount of abstract information that a sculpture can deliver, and Walcott bravely pushes its capacity to the limit.  But, as personal and elusive as some of these sculptures are, they possess sufficient humor, wit, and visual appeal to engage the viewer, even without the helpful explanatory cards on the wall.  Continue reading

Three Directions for Sculpture

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Among the male sculptors over 70 who have been practicing for half a century, Martin Puryear (born 1941), Frank Stella (born 1936), and Mark di Suvero (born 1933) are quite different in terms of their main themes, media, and processes. One common thread is that each has taken great risks, chosen new directions in sculpture, and created work with universal meanings that have not been explored in depth. Three new monographs each discuss how one artist draws inspiration from a range of subjects; however, only the essays on Puryear discuss craft and process in depth. Another topic that begs to be discussed in this trio’s arts is erotic allusions/tales/allegories. Mark Pascale’s analysis of sensory implications in Puryear’s “The Gates” gave me new ideas about additional sensory references in the artist’s oeuvre. Continue reading

Silvia Celcer-Un caso poco común

Silvia Celcer Sculpture

Pascal, Salon Nacional, 2015.

Silvia Celcer nace en Buenos Aires, Argentina en 1949. Médico Psiquiatra de la Universidad de Buenos Aires, con amplia carrera docente, formada en París con el célebre Jacques Lacan, Silvia se especializa en la “Pulsión de Muerte”, un tema que atravesará toda su obra como escultora. En 2008 –con casi 60 años- comienza su camino en el terreno de las artes tomando clases en forma ininterrumpida con distintos artistas tales como Renata dal Bianco, Aldo Caponi, Omar Stella, Leo Vinci y Edgardo Madanes, abordando el modelado en cera, la talla en madera, el manejo del bronce, entre otros. Y es justamente el bronce el material que la seduce y la capta casi por completo; sus piezas de medio y pequeño formato, abordan temas como lo siniestro, lo grotesco y el ridículo. Continue reading

Please Do Not Touch the Work: Wendell Castle Remastered

Wendell Castle Sculpture

Wendell Castle Remastered. Courtesy of Friendman Benda and the artist; photo by Matt Wittmeyer.

Art is meant to be viewed, but furniture is meant to be touched. A space is defined by its appearance, but we are always in physical contact with the edges of space as well, with the walls and floors. Furniture is like an inside-out building. Whereas buildings contain us within them, furniture holds us suspended around itself like orbiting moons, as our fingers trace the surface of tables, as we sit on chairs and our legs slide under desks, and our hands reach up to shelves and into drawers. We appreciate the appearance of furniture on the pages of catalogs or on the showroom floor, but it isn’t until our paths intersect with the pieces in daily life that we begin to understand their nuances, the finer aspects of their design and construction that make them more than sculpture, but interactive shapings of space. Continue reading

Making a Profit from Editions, Prints and Multiple Copies

Break-even-point-feature

One business model for your art business could be producing and selling a series of prints, photographs, sculptures or multiple copies of any artwork.  The advantage of this model is that it allows you to leverage the work or designs you have created and achieve some level of efficiency and predictability in producing the copies.  An edition can be either limited or unlimited in the number of pieces produced.  Before you embark on producing and selling multiple copies or prints, it is a good idea to know what your costs will be and how you should price the works so that you will make a profit. Continue reading

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