Sculpture at Scenic World 2017 Call for submissions

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Louis Pratt, Wonder, 2016. Photo by Keith Maxwell

Sculpture at Scenic World has opened the call for submissions for its 2017 exhibition. It is the most important prize in Australia for an outdoor artwork that in the 2016 edition has been increased up to 20,000 AUD. Located 100 kms from Sydney, the idyllic village of Katoomba is the main destination for all who want to admire the breathtaking views of the rock formation called The Three Sisters in the heart of the Blue Mountains National Park. Scenic World, one of the oldest tourism business in New South Wales, is owned by the Hammon Family – now in their third generation, and siblings Anthea and David have brought fresh air to the company; in the last few years they have been committed to providing a extensive experience to the visitor and, at the same time, contributing to the already vibrant art scene of Katoomba. That’s why five years ago they launched the first exhibition with 26 sculptures and installations in the area of a lush rainforest. Continue reading

Jaume Plensa’s Visual Language

Jaume Plensa Sculpture

Jaume Plensa (Spanish, born 1955), Paula. Bronze, 2013. 276 x 38 5/8 x 100 1/2 in. (701 x 98 x 255 cm) © Jaume Plensa, courtesy Galerie Lelong, New York. Image courtesy of Toledo Museum of Art. Photo by Andrew Weber.

When he was a child, Spanish-born Juame Plensa sometimes furtively hid inside his family’s upright piano.  There, when his father would sit down to play, the sound of the music momentarily became something palpable as the physical vibrations of each note passed through Plensa’s body.  The experience was to have a profound effect on much of his subsequent public art, through which Plensa has always sought to give tangible shape to the ephemeral and the numinous.  Continue reading

Case Work

Sculpture

Dutchess County Estate – Main House site and massing concept study. Acrylic, cast resin, polished brass and charred pine. 24 in x 24 in x 6 in.

There is a shared dream of architecture. A wish that we have, both for architecture, and that we desire to carry out through architecture. In this dream we reshape the world around us like powerful wizards, holding out our hands in front of our bodies and, with mere gestures, cause the landscape to be moved and shaped around us. Rock rises from within the earth, dimples form burning brilliant blisters of crystal and glass into steel and sand, wood grows instantaneous into the deep burnished hues of old-growth, as if we command not only space but time itself. Continue reading

What’s What in a Mirror

Liam Gillick Sculpture

Liam Gillick, Visuo Vestibular Conflict, 2016. All work courtesy of the artist and Kerlin Gallery, Dublin. Image by writer.

It’s impossible to consider “What’s What in a Mirror” as separate from the rest of the gallery. Rather than a self-contained show, it is scattered throughout the Hugh Lane: encroaching upon solo exhibitions by Alan Phelan and Jesse Jones, dotted on landings, and tucked around the corner of the gift shop. Jones’ expansive curtain, dragged between gallery spaces at intervals as a part of NO MORE FUN AND GAMES skirts the piece Agent Relativity neatly and dramatically; Perceived Lightness reflects visitors searching the display racks for their name in Irish. To see all of Gillick’s work necessitates seeing everything here, punctuated by the repeated stool, mirror and table arrangement. Continue reading

Mona Hatoum – Tate Modern

Mona Hatoum Sculpture

Over My Dead Body, 1988. Inkjet on paper. 204 x 304. © Courtesy of the artist.

I first encountered Mona Hatoum’s work in Berlin in 2010 when she was awarded the Käthe Kollwitz Prize by the Akademie der Künste (Academy of Arts). Her large sculptural works with their mix of both delicate and industrial materials was intriguing, and the underlying tension which is often so central to her practice fascinated me. Two years later I was fortunate enough to see her survey “You Are Still Here” at Arter – Space for Art in Istanbul. [1] Here Hatoum’s dense and poetically loaded works were an engaging and perhaps pointed contrast to the largely commercial surroundings on Istiklal Caddesi, the pedestrian avenue visited by as many as three million people during weekends in the popular Turkish city. Continue reading

Pokemon Go Finds Public Art

Pokemon Go Sculpture

Left: the infographics of the central panel of “Desert Feud” mural by D. Ross “Scribe” located at Foxx Equipment in Kansas City, Missouri. In many cases, the information given to viewers about a Pokestop is missing, incorrect or incomplete. After some simple research more information about the artist was located. Center: View of the area in the Pokemon Go app including “Desert Feud” as a Pokestop. Right: Image of “Desert Feud” by D. Ross “Scribe” in Kansas City.

It’s estimated that Pokemon Go has already peaked in users but some estimates put daily users still around 20 million in the United States alone. At the time of writing this, less than a month has passed since Niantic Labs, Pokemon and Nintendo dropped a bomb on the world in the form of the smartphone app and game. Nintendo’s stock prices have skyrocketed along with news stories involving the app and its users with buzzwords like “augmented reality” – the combination of a virtual world with the physical. Pokemon trainers, the term for people searching for Pokemon to capture and evolve, are easily spotted walking with faces in their cell phones or gathered around physical locations important to the game. The app has already displayed its great potential in exposing millions of new users to public art throughout the country and a possibility for significant cultural mapping systems used by artists, museum and municipalities. Continue reading

Drawn to Puryear

Martin Puryear Sculpture

Martin Puryear, Vessel, 1997–2002, eastern white pine, mesh, and tar, Courtesy of the artist. © Martin Puryear, Courtesy Matthew Marks Gallery

On the subject of his printmaking, Martin Puryear told Art 21 that he tries to “make work that’s about the idea in the sculpture without making a picture of the sculpture.” It’s an aspiration that resonates throughout his exhibition at the Smithsonian American Art Museum: the first major traveling museum exhibition that positions his sculpture in direct relationship with his printmaking, as well as his drawings and drawing process. Continue reading

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