Posts Tagged ‘Sculpture’

Best of 2013 – Cripplewood at the Venice Biennale

Here at Daily Serving we count down the days to the New Year by presenting you with our best writing from the outgoing year. Today’s review was selected by writer and Regional Editor Marilyn Goh, who says, “I came to know about Ghent-based artist Berlinde De Bruyckere through Thea’s pitch of Cripplewood-Kreupelhout at the 55th Venice Biennale. Months later, the unsettling images of Bruyckere’s works[.....]

Fan Mail: Cody Arnall

Cody Arnall. Makeup Case, Foosball Parts, Telephone Wiring, Lamp Post, Light Fixture, Glass Light Covering, Electrical Wiring, Paint, Sawdust, Wood Glue, 2010; makeup case, foosball parts, telephone wiring, lamp post, light fixture, glass light covering, electrical wiring, paint, sawdust, wood glue; 3’8” x 1’6” x 1’6” feet. Courtesy of the artist.

Cody Arnall uses his unique vision to approach the mundane and utilitarian objects that surround him. By seeing the potential in these objects, Arnall transforms latent possibilities into new combinations that simultaneously approach a mysterious beauty and a perceivable yet unnamed functionality. Much of Arnall’s reconfiguring has to do with bringing a distinct “energy, force, and movement” (his words) to the everyday objects in his[.....]

Andrew Nicholls: The Water Works at Turner Galleries

Australian artist Andrew Nicholls dredges the queasy aesthetics of sentiment for its submerged ideological content. In an ongoing thread of his practice, he locates the ideals and practices of British imperialism in the kitsch, seemingly innocuous world of 19th- and 20th-century ceramics, disrupting this historical narrative with traces of the otherness otherwise repressed in the imperial worldview. He subsumes his viewers in an unsteady undertow[.....]

From the Archives: Diana Al-Hadid

Today in From the DS Archives, we bring you a review by Seth Curcio on the work of Diana Al-Hadid. Al-Hadid makes large-scale, mixed-media sculptures, and she currently has a solo exhibition at the Savannah College of Art and Design Museum in Savannah, Georgia. This article was originally published on November 19, 2007. Stepping into the Perry Rubenstein Gallery in New York City is a little like[.....]

Eva Speer: Alone Together at Charles A. Hartman Fine Art

Eva Speer. Echo Box #1, 2013; cast resin, acrylic, latex paint; 15 x 15 in.; Courtesy of Charles A. Hartman Fine Art

Eva Speer’s works at Charles A. Hartman Fine Art in Portland, Oregon, demonstrate the artist mixing the expressive qualities of abstraction and minimalism with a rich materiality. The fourteen works in Alone Together (all 2013) combine the cool sensibility of synthetic materials with candy colors and natural forms, and the effect is often impressive. As the title Alone Together suggests, many of the panels in Speer’s[.....]

With Cinder Blocks We Flatten Our Photographs at Romer Young Gallery

With Cinder Blocks we Flatten our Photographs, installation view, Romer Young Gallery, San Francisco, 2013. Courtesy of Romer Young Gallery.

With Cinder Blocks We Flatten Our Photographs, currently on view at Romer Young Gallery, includes work by San Francisco artists C. Wright Daniel, Pablo Guardiola, Jonathan Runcio, and Emma Spertus; the Los Angeles–based John Pearson; and New York–based artists Deric Carner and Letha Wilson. The press release notes as precedent curator Peter C. Bunnell’s Photography into Sculpture exhibition, mounted in 1970 by the Museum of Modern[.....]

Chun Kwang Young: Assemblage

Chun Kwang Young. Aggregation 07 DE146, 2007 (detail); mixed media with Korean mulberry paper; 250 x 205 cm. Image courtesy of Michael Culme-Seymour and Art Plural gallery.

Chun Kwang Young’s Assemblage at Art Plural Gallery is a series of three-dimensional sculptural works wrapped with Korean mulberry paper and assembled within the two-dimensional frame of a canvas. Taking the ubiquitous use of the mulberry paper in Korea—also known as hanji—as a material point of reference, the Assemblage series explores a desolate landscape of depressions, protrusions and coloured spots, all of which seem to reference abstract painting’s visual language of prioritising[.....]