SculptureCenter

Jun 25

FEATURED ARTIST: Lucy Kim
Lucy Kim (b. 1978, Seoul, Korea, lives and works in Massachusetts) incorporates plastic and aluminum foil casts of people, animals, and objects into her relief paintings, often distorting the recognizable by manipulating the materials during the mold-making and casting process. She developed this method to merge the representational lineage and plasticity of painting with indexical impressions of the people and objects around her. The visceral distortions - flattening, unfolding, stretching, and enlarging - are attempts at physically mimicking manipulations commonly used in photographic images, the literalness usually leading to eerie humor. Drawn from both her personal life and popular media, the work engages with the entangled relationship between the two and forces the compression of image and subject.
Kim received her BFA from the Rhode Island School of Design in 2001 and her MFA from the Yale School of Art in 2007. She has been a fellow at the Yale Norfolk Summer School of Art and Music and the MacDowell Colony, and a participant at the Skowhegan School of Painting and Sculpture. Her work has been featured at Lisa Cooley, New York; Mon Chéri, Brussels; Flash Art NY Desk, New York; Regina Rex, Queens; Ortega y Gasset Projects, Brooklyn; Tiger Strikes Asteroid, Philadelphia; Field Projects, New York; Wassaic Project, Wassaic and others. She is a founding member of the collaborative kijidome. She has an upcoming solo exhibition at Lisa Cooley in 2015.
Lucy Kim, He Left With Flounders, 2014. Oil paint, various plastics, spray paint on dibond panel, 64 x 48 inches. Courtesy the artist and Lisa Cooley, New York.
https://sculpture-center.org/

FEATURED ARTIST: Lucy Kim

Lucy Kim (b. 1978, Seoul, Korea, lives and works in Massachusetts) incorporates plastic and aluminum foil casts of people, animals, and objects into her relief paintings, often distorting the recognizable by manipulating the materials during the mold-making and casting process. She developed this method to merge the representational lineage and plasticity of painting with indexical impressions of the people and objects around her. The visceral distortions - flattening, unfolding, stretching, and enlarging - are attempts at physically mimicking manipulations commonly used in photographic images, the literalness usually leading to eerie humor. Drawn from both her personal life and popular media, the work engages with the entangled relationship between the two and forces the compression of image and subject.

Kim received her BFA from the Rhode Island School of Design in 2001 and her MFA from the Yale School of Art in 2007. She has been a fellow at the Yale Norfolk Summer School of Art and Music and the MacDowell Colony, and a participant at the Skowhegan School of Painting and Sculpture. Her work has been featured at Lisa Cooley, New York; Mon Chéri, Brussels; Flash Art NY Desk, New York; Regina Rex, Queens; Ortega y Gasset Projects, Brooklyn; Tiger Strikes Asteroid, Philadelphia; Field Projects, New York; Wassaic Project, Wassaic and others. She is a founding member of the collaborative kijidome. She has an upcoming solo exhibition at Lisa Cooley in 2015.

Lucy Kim, He Left With Flounders, 2014. Oil paint, various plastics, spray paint on dibond panel, 64 x 48 inches. Courtesy the artist and Lisa Cooley, New York.

https://sculpture-center.org/

Jun 24

HAPPENINGS: Mike Eckhaus and Zoe Latta @ The Museum of Art and Design, NYC.
Thursday, June 26, 2014 - 7:00 pm, Free, The Theater at MAD.
From MAD:

Having founded Eckhaus Latta in 2011, the designing duo Mike Eckhaus and Zoe Latta have staked a space for themselves in New York’s buzzing downtown fashion scene. Their enigmatic, fragmented and disheveled aesthetic is perhaps easiest described as post-deconstructionist. Repurposing the various components of a garment into their own refreshingly youthful and devastatingly domestic vision, Eckhaus Latta push the idea of the homemade, radically juxtaposed with contemporary materials and modern fabrications; a connecting thread throughout their conceptually leaning collections. Their clothes are often abstract groupings of textiles and fibers rather than fully realized garments, directly challenging the dichotomies of refinement and rawness, the machine-made and the hand-made, and the impersonal coldness of fashion and the warmth and personality of crafted clothes.


Courtesy The Museum of Art and Design. 

HAPPENINGS: Mike Eckhaus and Zoe Latta @ The Museum of Art and Design, NYC.

Thursday, June 26, 2014 - 7:00 pm, Free, The Theater at MAD.

From MAD:

Having founded Eckhaus Latta in 2011, the designing duo Mike Eckhaus and Zoe Latta have staked a space for themselves in New York’s buzzing downtown fashion scene. Their enigmatic, fragmented and disheveled aesthetic is perhaps easiest described as post-deconstructionist. Repurposing the various components of a garment into their own refreshingly youthful and devastatingly domestic vision, Eckhaus Latta push the idea of the homemade, radically juxtaposed with contemporary materials and modern fabrications; a connecting thread throughout their conceptually leaning collections. Their clothes are often abstract groupings of textiles and fibers rather than fully realized garments, directly challenging the dichotomies of refinement and rawness, the machine-made and the hand-made, and the impersonal coldness of fashion and the warmth and personality of crafted clothes.

Courtesy The Museum of Art and Design. 

Jun 23

WHAT’S ON: Cold Flow Creep, Jason Loebs. May 9 - June 29, 2014. Essex Street, 114 Eldridge St, NYC. Courtesy Essex Street.

WHAT’S ON: Cold Flow Creep, Jason Loebs. May 9 - June 29, 2014. Essex Street, 114 Eldridge St, NYC. Courtesy Essex Street.

Jun 22

READING ROOM:
Marlo Pascual, Marlo Pascual
Published by Hassla. 7 x 8.75 in., saddle-stitched, 48 pages, softcover, B/W offset 
25 USD
Courtesy Hassla Books.
See more about Marlo Pascual’s involvement with SculptureCenter here.

READING ROOM:

Marlo Pascual, Marlo Pascual

Published by Hassla. 7 x 8.75 in., saddle-stitched, 48 pages, softcover, B/W offset 

25 USD

Courtesy Hassla Books.

See more about Marlo Pascual’s involvement with SculptureCenter here.

Jun 21

FEATURED ARTIST: Elliott Wright, Nagisa [re. enveloped], 2014. Anodized modular aluminum, inkjet, foamcore, vinyl, gasket. 43 X 14 X 9 inches. Courtesy the artist. Photo: Colin Loughlin.
http://sculpture-center.org/


FEATURED ARTIST: Elliott Wright, Nagisa [re. enveloped], 2014. Anodized modular aluminum, inkjet, foamcore, vinyl, gasket. 43 X 14 X 9 inches. Courtesy the artist. Photo: Colin Loughlin.

http://sculpture-center.org/

Jun 20

FEATURED ARTIST: Elliott Wright, Untitled [re. new jackswing saturday scans, 2014. Anodized modular aluminum, inkjet, foamcore, gasket. 42 X 33 X 40 inches. Courtesy the artist. Photo: Colin Loughlin.
http://sculpture-center.org/

FEATURED ARTIST: Elliott WrightUntitled [re. new jackswing saturday scans, 2014. Anodized modular aluminum, inkjet, foamcore, gasket. 42 X 33 X 40 inches. Courtesy the artist. Photo: Colin Loughlin.

http://sculpture-center.org/

WHAT’S ON: Wet Light, Bill Jenkins. May 18 - June 22, 2014. Laurel Gitlen, 122 Norfolk St, NYC. Courtesy the artist and Laurel Gitlen.

WHAT’S ON: Wet Light, Bill Jenkins. May 18 - June 22, 2014. Laurel Gitlen, 122 Norfolk St, NYC. Courtesy the artist and Laurel Gitlen.

Jun 19

[video]

Jun 18

FEATURED ARTIST: Elliott Wright

Elliott Wright (b. 1984, lives and works in Brooklyn, NY) creates work that considers liquidity and the mutation that occurs through the process of scanning. Wright utilizes the scanner as a medium/substrate in which the subject, a hand-made object or collage composed of materials that complicate the scanning process, is scanned and compressed through a digital arena that is later expanded and re-materialized in the physical arena. What remains is a subject that is bruised and dissolved by this transmission. The resulting bodies that are affected by the scanners’ threshold are poised upon modular aluminum structures, a framing material mostly utilized to police space within industrial enclosures, clean rooms and corporate displays. The structures themselves take on a skewed-phantasmagoria, through the use of two-way mirrors and complex angled cuts where perspective approaches groundlessness. Wright’s engagement with the subject derives from personal histories, loss, sensory deprivation and a confusion with identification.
Wright completed his MFA from New York University in 2013, and has exhibited work at Non-Objectif Sud, Tulette, FR; Abrons Art Center, NY; Vamiali’s, Athens, GR; Preteen Gallery, Mexico City, MX; Racebrook Lodge, Berkshire, MA; and has contributed digital work to Artmicropatronage.org (curated by Karen Archey) and How to Download a Boyfriend (curated by Badlands Unlimited).  
Elliott Wright,  Nachträglichkeit II [re. coffee service, after Morandini], 2014. Anodized modular aluminum, inkjet, foamcore, gasket. 68 X 26 X 24 inches. (Imposed on a scanned image from a 1978-1980 issue of Architectural Digest). Courtesy the artist. Photo: Colin Loughlin.
https://sculpture-center.org/

FEATURED ARTIST: Elliott Wright

Elliott Wright (b. 1984, lives and works in Brooklyn, NY) creates work that considers liquidity and the mutation that occurs through the process of scanning. Wright utilizes the scanner as a medium/substrate in which the subject, a hand-made object or collage composed of materials that complicate the scanning process, is scanned and compressed through a digital arena that is later expanded and re-materialized in the physical arena. What remains is a subject that is bruised and dissolved by this transmission. The resulting bodies that are affected by the scanners’ threshold are poised upon modular aluminum structures, a framing material mostly utilized to police space within industrial enclosures, clean rooms and corporate displays. The structures themselves take on a skewed-phantasmagoria, through the use of two-way mirrors and complex angled cuts where perspective approaches groundlessness. Wright’s engagement with the subject derives from personal histories, loss, sensory deprivation and a confusion with identification.

Wright completed his MFA from New York University in 2013, and has exhibited work at Non-Objectif Sud, Tulette, FR; Abrons Art Center, NY; Vamiali’s, Athens, GR; Preteen Gallery, Mexico City, MX; Racebrook Lodge, Berkshire, MA; and has contributed digital work to Artmicropatronage.org (curated by Karen Archey) and How to Download a Boyfriend (curated by Badlands Unlimited).  

Elliott Wright,  Nachträglichkeit II [re. coffee service, after Morandini], 2014. Anodized modular aluminum, inkjet, foamcore, gasket. 68 X 26 X 24 inches. (Imposed on a scanned image from a 1978-1980 issue of Architectural Digest). Courtesy the artist. Photo: Colin Loughlin.

https://sculpture-center.org/

Jun 17

READING ROOM: 
Grapevine~ Magdalena Suarez Frimkess, Michael Frimkess, John Mason, Ron Nagle, Peter Shire, curated by Ricky Swallow. (Rainoff & David Kordansky Gallery, 2014).
From David Kordansky Gallery on the Grapevine~ Exhibition:

GRAPEVINE~ was conceived as way of exhibiting a group of artists who have all worked in clay, in California, for more than 40 years. Throughout that time these artists have always sought to contradict the limitations of the medium in terms of its craft parameters. It might sound obvious, but there is something about this work brewing on the West Coast. I can’t imagine it surfacing anywhere else with its strangeness paired with such dedication to finish and quality.

Courtesy David Kordansky Gallery.

READING ROOM: 

Grapevine~ Magdalena Suarez Frimkess, Michael Frimkess, John Mason, Ron Nagle, Peter Shire, curated by Ricky Swallow. (Rainoff & David Kordansky Gallery, 2014).

From David Kordansky Gallery on the Grapevine~ Exhibition:

GRAPEVINE~ was conceived as way of exhibiting a group of artists who have all worked in clay, in California, for more than 40 years. Throughout that time these artists have always sought to contradict the limitations of the medium in terms of its craft parameters. It might sound obvious, but there is something about this work brewing on the West Coast. I can’t imagine it surfacing anywhere else with its strangeness paired with such dedication to finish and quality.

Courtesy David Kordansky Gallery.

Jun 16

WHAT’S ON: Stephen Lichty. May 10- June 28, 2014. Foxy Production, 623 W 27th St, NYC.
Stephen Lichty, Untitled, 2014, Basalt and taxidermied cat. Dimensions variable. Courtesy the artist and Foxy Production.
See Stephen Lichty’s last appearance on the SculptureNotebook here.

WHAT’S ON: Stephen Lichty. May 10- June 28, 2014. Foxy Production, 623 W 27th St, NYC.

Stephen Lichty, Untitled, 2014, Basalt and taxidermied cat. Dimensions variable. Courtesy the artist and Foxy Production.

See Stephen Lichty’s last appearance on the SculptureNotebook here.

Jun 15

FEATURED ARTIST: Linn Pedersen, Floor Arrangements, 2012. Various sizes, photo, clay, climbing ropes, gym bags, pedestals, textiles and spray paint. Installation at Künstlerhaus Bethanien, Berlin. Courtesy the artist. Photo: Jan Freuchen.
https://sculpture-center.org/

FEATURED ARTIST: Linn PedersenFloor Arrangements, 2012. Various sizes, photo, clay, climbing ropes, gym bags, pedestals, textiles and spray paint. Installation at Künstlerhaus Bethanien, Berlin. Courtesy the artist. Photo: Jan Freuchen.

https://sculpture-center.org/

Jun 14

* ~ Happy 1000th SculptureNotebook Post! ~ *

* ~ Happy 1000th SculptureNotebook Post! ~ *

Jun 13

FEATURED ARTIST: Linn Pedersen, Sedimentality, 2013. C- prints, textiles and spray paint. Installation at Gallery MELK, Oslo, Norway. Courtesy the artist. Photo: Bjarne Bare.
https://sculpture-center.org/

FEATURED ARTIST: Linn Pedersen, Sedimentality, 2013. C- prints, textiles and spray paint. Installation at Gallery MELK, Oslo, Norway. Courtesy the artist. Photo: Bjarne Bare.

https://sculpture-center.org/

Jun 12

FEATURED ARTIST: Linn Pedersen. Primary Gym, 2014. Climbing ropes, plaster, singlets, and paint. Dimensions variable. Soft Measures, (in collaboration with Jan Freuchen), WIELS project space, Brussels. Courtesy the artist.
https://sculpture-center.org/

FEATURED ARTIST: Linn PedersenPrimary Gym, 2014. Climbing ropes, plaster, singlets, and paint. Dimensions variable. Soft Measures(in collaboration with Jan Freuchen), WIELS project space, Brussels. Courtesy the artist.

https://sculpture-center.org/