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.



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WHAT’S ON: Equal Goes it Loose. June 27 - July 20, 2014. News of the World, 50 Resolution Way, London. Courtesy News of the World. 
Featuring: Joscha Blankenburg, Carla Diestelhorst, Timo Grimm, Franz Helffenstein, Christian Kempel, Paula Loeding, Magdalena Los, Elisabeth Moch, Leonie Rottmann, Simon Schete, Pablo Schlumberger, Timon Schmolling, Lukas Schneider, Julia Storz, Markus Vater, Daniel Vier, Sebastian Wiegand, Carlos Zambrano, Ronja Zschoche

WHAT’S ON: Equal Goes it Loose. June 27 - July 20, 2014. News of the World, 50 Resolution Way, London. Courtesy News of the World. 

Featuring: Joscha Blankenburg, Carla Diestelhorst, Timo Grimm, Franz Helffenstein, Christian Kempel, Paula Loeding, Magdalena Los, Elisabeth Moch, Leonie Rottmann, Simon Schete, Pablo Schlumberger, Timon Schmolling, Lukas Schneider, Julia Storz, Markus Vater, Daniel Vier, Sebastian Wiegand, Carlos Zambrano, Ronja Zschoche

READING ROOM:
Mariana Castillo Deball, Ixiptla (Bom Dia Boa Tarde Boa Noite, 2014)
From Bom Dia:

Originally a Nahua word, ixiptla has been understood as image, delegate, character, and representative. Ixiptla could be a container, but also could be the actualization of power infused into an object or person. In Nahua culture, it took the form of a statue, a vision, or a victim who turned into a god destined to be sacrificed. Without having to visually appear the same, multiple ixiptlas of the same god could exist simultaneously. The distinction between essence and material, and between original and copy vanishes.
This edition of Ixiptla is focused on the trajectory of objects collected and produced by archeologists - plaster molds, facsimiles, drawings, photographs, and scale models -, in an attempt to capture and replicate material evidences left by time; these objects emerge from a specific moment in time, producing a doppelgänger of the original milieu, which then takes its own course. 

Courtesy Bom Dia Boa Tarde Boa Noite.

READING ROOM:

Mariana Castillo Deball, Ixiptla (Bom Dia Boa Tarde Boa Noite, 2014)

From Bom Dia:

Originally a Nahua word, ixiptla has been understood as image, delegate, character, and representative. Ixiptla could be a container, but also could be the actualization of power infused into an object or person. In Nahua culture, it took the form of a statue, a vision, or a victim who turned into a god destined to be sacrificed. Without having to visually appear the same, multiple ixiptlas of the same god could exist simultaneously. The distinction between essence and material, and between original and copy vanishes.

This edition of Ixiptla is focused on the trajectory of objects collected and produced by archeologists - plaster molds, facsimiles, drawings, photographs, and scale models -, in an attempt to capture and replicate material evidences left by time; these objects emerge from a specific moment in time, producing a doppelgänger of the original milieu, which then takes its own course. 

Courtesy Bom Dia Boa Tarde Boa Noite.

READING ROOM:
Stefanie Seufert, Stefanie Seufert (Camera Austria, 2012).
48 pages, 21 cm x 29.6 cm, 34 color illustrations, 5 b/w illustrations softcover, thread stitching.
From Camera Austria:

The publication at hand joins the discourse on forms of visual reduction within current photographic projects. Here a pictorial language begins to take shape, one which explicitly turns against narration and which, conversely, advocates the intrinsic value of materiality in photography: images of ephemeral phenomena and states that condense into a specific form in an alien and yet emblematic moment. The aim is not the disclosure or aestheticisation of reality but rather an exploration of the question concerning the relation between visibility and reality.

Courtesy Camera Austria.

READING ROOM:

Stefanie Seufert, Stefanie Seufert (Camera Austria, 2012).

48 pages, 21 cm x 29.6 cm, 34 color illustrations, 5 b/w illustrations softcover, thread stitching.

From Camera Austria:

The publication at hand joins the discourse on forms of visual reduction within current photographic projects. Here a pictorial language begins to take shape, one which explicitly turns against narration and which, conversely, advocates the intrinsic value of materiality in photography: images of ephemeral phenomena and states that condense into a specific form in an alien and yet emblematic moment. The aim is not the disclosure or aestheticisation of reality but rather an exploration of the question concerning the relation between visibility and reality.

Courtesy Camera Austria.

READING ROOM: 
Romy Kießling, Veronica Wüst and Gloria Glitzer, Mine: An Asset-Light Existence, (Gloria Glitzer, 2014)
20 × 28cm, 36 pages, 18 glued-in, offset printed images, a sheet of digital printed stickers on transparent foil. Publication risograph printed in 6 colors (blue, burgundy, yellow, brown, green and black).
From Gloria Glitzer:

MINE. an asset-light existence is a travel catalogue offering private home rentals near significant mines worldwide.

Courtesy Gloria Glitzer.

READING ROOM: 

Romy Kießling, Veronica Wüst and Gloria Glitzer, Mine: An Asset-Light Existence, (Gloria Glitzer, 2014)

20 × 28cm, 36 pages, 18 glued-in, offset printed images, a sheet of digital printed stickers on transparent foil. Publication risograph printed in 6 colors (blue, burgundy, yellow, brown, green and black).

From Gloria Glitzer:

MINE. an asset-light existence is a travel catalogue offering private home rentals near significant mines worldwide.

Courtesy Gloria Glitzer.