INTERNATIONAL SCULPTURE DAY: “AURORA BRIGHT DAWN” CONNECTING COMMUNITY TO PLACE

International Sculpture Day (IS Day), on April 27th, is a worldwide event celebrating the many ways sculpture and public art impact and improve people’s lives. IS Day, first initiated by the International Sculpture Center (ISC) in 2015, occurs on the last Saturday of April. On this day, Artists and groups interested in the Arts, host events including workshops, studio tours, gallery openings, performances, project dedications, and more, celebrating how sculpture, in its many forms, improves lives.

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Marisol San Jorge-Dibujos, Objetos e Instalaciones

“Mudar” Objetos Metal, madera, espejos, botella, termómetro, labial 45 x 35 x 30 cm aprox. c/u. Año 2010

Dibujos, objetos e instalaciones; ése es el universo de la cordobesa Marisol San Jorge  formada en Dibujo Publicitario en la Escuela Provincial Lino Enea Spilimbergo y Arte en la Escuela Provincial Dr. José Figueroa Alcorta. Marisol logra hacer convivir en su obra el plano de lo racional con la espiritualidad, volcando sus conocimientos trabajos que van desde las ilustraciones hasta las instalaciones con objetos ready madeContinue reading

Lavender Mist

sculpture

Rebecca Louise Law: Community. Image courtesy of the Toledo Museum of Art.

Rebecca Louise Law’s immersive, site-specific floral installations have graced venues ranging from the British Royal Academy, the Victoria and Albert Museum, the Kew Royal Botanical Gardens, and Times Square, where she thoroughly transforms spaces with canopies and garlands comprising flowers by the hundred-thousand.  Community, on view at the Toledo Art Museum, applies half a million floral elements that create a tangible lavender mist into which viewers can immerse themselves and disappear.  It looks (and smells) absolutely transcendent, but Law’s floral works– tranquil, serene, and undeniably beautiful—also manage to gently touch on the themes of community-building and environmental sustainability. Continue reading

Noemí Schneck – Variaciones Textiles

sculpture

ENTREVERADOS, de la serie Germinal 2013 – Técnica mixta. 60 x 16 x 5 cm (medidas variables, según sea obra de apoyo, o mural horizontal o vertical) Mdf, alambre forrado con hilo de algodón, anudado

Dedicada desde 1977 a las artes visuales –y con estudios previos como profesora nacional de inglés- Noemí Schneck se formó en los talleres de Tana Sachs, Cristina Dartiguelongue y Luis Negrotti, donde experimentó con distintos materiales como los metales, fibras, papel, telas endurecidas, fibras plásticas y diversos materiales industriales aplicados a la pintura, la escultura y las instalaciones pero fundamentalmente al arte textil. Continue reading

In the Studio with Francis Cape : Fragments

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The Other End of the Line, 2010 interior with work by DeWitt Godfrey, Gina Occhiogrosso, Margo Mensing, Richard Garrison, Matt Harle photo Paul Kennedy

Francis Cape’s straightforward-appearing art communicates a world view that is complex and sophisticated. As the son of a British diplomat, Cape was born in Portugal and grew up in major cities all over the world. This, and his apprenticeship to a wood carver in York, England from 1974-79 are early markers that led to his life with artist/wife Liza Phillips.  Their innovative yet traditional art practices enliven the light-filled rooms of their renovated home and studios in Narrowsburg, New York, a low-income Republican area of Sullivan County that was recently devastated by a derecho, a kind of horizontal tornado. Cape told me that thirty trees were down on his land, and I could see he was already in the process of turning some fallen trees into firewood and hauling others away. In Narrowsburg, Cape serves as a volunteer ambulance driver and head of the Democratic Party and considers this his “social practice.” Continue reading

Foreign Invaders: Sculpture by Luke Jerram and Colleen Wolstenholme

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Luke Jerram, E. Coli (detail)

The human body. The human being. Expectation and convention might suggest, I suppose, that I talk about the aesthetic gaze as it is sculpturally focused on the human body. But I’ll slide sideways a bit, so that while the human body, the human being, is indeed the focus of work I want to talk about, there is nary a representation nor visual reference to the aforesaid anyway in sight. This is about the foreign invaders, those intrusions (intended or not) into and upon the body that, for the most part, fall into two distinct groups: viruses and bacteria and pathogens on the one (by-and-large unwelcome) side, and the oral medications we so increasingly consume to deal with myriad physiological and psychological maladies on the other. Viruses and bacteria and other pathogens are generally of the natural world, while medications are obviously no such things. The oppositions of the natural and the synthetic come into play here, but intentionally so, and I proffer by way of examples the work of two artists, Luke Jerram and Colleen Wolstenholme – one British and the other Canadian. Continue reading

The Fast Look

sculpture

Chrysler Imperial Model CV Airflow Coupe, 1934. Photo: Peter Harholdt.
Courtesy of Miles Collier Collections @ the Revs Institute.

In 1909, at a time when automobiles were just starting to gain traction as a technology in society, an Italian poet named F. T. Marinetti penned “The Futurist Manifesto,” which recounts the excitement of a car accident as allegory to inspire a generation of artists to embrace the aesthetics of technology. And in turn, these artists inspired designers, architects, critics, engineers, and even politicians with their language of speed, danger, and mythological struggle. Thirty years later, the European continent was entering its second catastrophic war. Futurism didn’t survive these real-world dangers (and many of the Futurists themselves did not survive it, either). But the aesthetics of speed were already tied in to the shape and feel of our technology. Continue reading