SculptureNotebook is an online platform that features artists, events, books, and other cultural material pertinent to issues in contemporary sculpture.

SculptureNotebook is a program of SculptureCenter, a not-for-profit arts institution located in Long Island City, NY and founded by artists in 1928. SculptureCenter focuses on the production of new artwork and presents exhibits by emerging and established artists from New York and around the world.



visit www.sculpture-center.org

WHAT’S ON: Allison Katz: Rumors, Echoes, September 4- October 4, 2014. Boatos Fine Arts, Rua Joao Moura, 187 - Jardins, Sao Paolo.
From Boatos:

Despite the supposedly obsolete character of painting in what is now termed the “post–internet” condition, Katz embraces an expanded practice of painting as a possible field of experimentation. This non-hierarchical and provisional attitude is perhaps better illustrated by the story behind the recurring image of the black pear which, as the artist tells me, emerged from a feeling of disgust when watching her grandmother eating the darkened bits of the fruit, only to be informed that these are the best parts because that is where sugar is concentrated. Likewise, one could say that painting is just that: an overripe medium, at once extremely sweet and repulsive.

Read about Allison Katz’s involvement in the upcoming SC exhibition Puddle, Pothole, Portal (October 2, 2014 - January 5, 2015).
Courtesy Boatos Fine Arts.

WHAT’S ON: Allison Katz: Rumors, EchoesSeptember 4- October 4, 2014. Boatos Fine Arts, Rua Joao Moura, 187 - Jardins, Sao Paolo.

From Boatos:

Despite the supposedly obsolete character of painting in what is now termed the “post–internet” condition, Katz embraces an expanded practice of painting as a possible field of experimentation. This non-hierarchical and provisional attitude is perhaps better illustrated by the story behind the recurring image of the black pear which, as the artist tells me, emerged from a feeling of disgust when watching her grandmother eating the darkened bits of the fruit, only to be informed that these are the best parts because that is where sugar is concentrated. Likewise, one could say that painting is just that: an overripe medium, at once extremely sweet and repulsive.

Read about Allison Katz’s involvement in the upcoming SC exhibition Puddle, Pothole, Portal (October 2, 2014 - January 5, 2015).

Courtesy Boatos Fine Arts.

WHAT’S ON: All That Matters Is What’s Left Behind, September 19 - November 8, 2014. Ronchini Gallery, 22 Dering Street London, W1S 1AN. 
Featuring: Alex Clarke, Phoebe Collings-James, Ziggy Grudzinskas, Prem Sahib, Rebecca Ward, and Jens Wolf. 
Courtesy Contemporary Art Museum Raleigh and Rebecca Ward. 

WHAT’S ON: All That Matters Is What’s Left Behind, September 19 - November 8, 2014. Ronchini Gallery, 22 Dering Street London, W1S 1AN. 

Featuring: Alex Clarke, Phoebe Collings-James, Ziggy Grudzinskas, Prem Sahib, Rebecca Ward, and Jens Wolf. 

Courtesy Contemporary Art Museum Raleigh and Rebecca Ward. 

READING ROOM: 
Judith Hopf, Peep Hole Sheet Issue #19: The World of Things - silent today!, (Mousse Publishing, 2014).
From Mousse:

Considering the relationship between the bodily reality of objects, artistic practice and a possible language to reconnect these increasingly distant universes, Judith Hopf takes her clue from ‘The Letter of Lord Chardos,’ a text composed by Hugo von Hofmannsthal in 1902. Tuning the ‘deafening silence’ triggered by the crisis of Chandos to her own, Hopf directly addresses readers to state her skepticism, but also to highlight the hypothesis of a hidden language that might resolve the impasse produced by a widespread lack of attention regarding artistic practice.

Read about Judith Hopf’s involvement in the upcoming SC exhibition Puddle, Pothole, Portal (October 2, 2014 - January 5, 2015).
Courtesy Mousse Publishing.

READING ROOM: 

Judith Hopf, Peep Hole Sheet Issue #19: The World of Things - silent today!, (Mousse Publishing, 2014).

From Mousse:

Considering the relationship between the bodily reality of objects, artistic practice and a possible language to reconnect these increasingly distant universes, Judith Hopf takes her clue from ‘The Letter of Lord Chardos,’ a text composed by Hugo von Hofmannsthal in 1902. Tuning the ‘deafening silence’ triggered by the crisis of Chandos to her own, Hopf directly addresses readers to state her skepticism, but also to highlight the hypothesis of a hidden language that might resolve the impasse produced by a widespread lack of attention regarding artistic practice.

Read about Judith Hopf’s involvement in the upcoming SC exhibition Puddle, Pothole, Portal (October 2, 2014 - January 5, 2015).

Courtesy Mousse Publishing.