Saturday, January 29, 2011


Dec 3, 2010 - Feb 24, 2011

Chimta by Subodh Gupta

Chicago, Illinois: Monumental: A Show of Epic Proportions at Walsh Gallery

Monumental exhibits 15 contemporary Asian and Asian American artists whose works share--whether in painting, sculpture, installation or photography--a love of the grand. These artists pushed the boundaries of scale to create works of a monumental nature. Often embedded in these works were the ideas of historical commentary, whether of a personal narrative or global nature. These large-scale pieces were created by artists from China, India, Korea and Indonesia, including Yue Minjun, Subodh Gupta, Atul Dodiya, Jitish Kallat, Rong Rong and inri, Zhang Dali, Chen Wenbo, Zhu Wei, Kim Joon, Han Seok Hyun, Ravinder Reddy, the Gao Brothers and Heri Dono. The show also includes works by Chicago artists Indira Johnson and Von Kommanivanh. The opening reception is Friday Dec. 3 from 5:00 - 8:00 pm. The exhibit runs until February 24, 2011.

Monumental is primarily a collection show of founder Julie Walsh, which means that the pieces in this exhibit not only talk about history, but are also historical themselves. These are early works by some of the biggest names in the industry that Ms. Walsh purchased before Chinese art and Indian art had been discovered in a global sense. Works in the exhibit fall into three primary categories: current events, personal narrative, and specific historical events.

Personal History

Subodh Gupta's large scale oval installation called Chimta is made up entirely of stainless steel tongs which were made in India. In this work Mr. Gupta helps expose some of the clichés of India as he deftly explores the question of just how "Indian" contemporary Indian art needs to be. He takes the most mundane object and converts it into an assemblage of massive proportions.

Referencing African and Egyptian sculpture, Ravinder Reddy's gold leaf covered six-foot fiberglass bust Tara is at once a portrait of a contemporary deity and a tribute to that which endures in art over time. Mr. Reddy feels that what endures is woman's strength of character. His sculptures are created from sketches of women that he sees in his hometown in Southern India.

Past History

The Gao Brothers' comical icon Miss Mao is a seven-foot silver painted statue of Mao Zedong as a woman, including both Mao's distinctive wart and full breasts.

Atul Dodiya's nine by six-foot shop shutter called E.T. is composed of multiple layers. On the outside of the shutter is a painting of a grand historical moment when Einstein met Rabindranath Tagore in India. The outside of the shutter represents the great ideals of how India could be. When the shutter is lifted it reveals a painting of a surreal landscape with a skeletal scribe on top of an airplane dropping either food packages or bombs on a desolate landscape with a few houses.

Monumental delivers an array of historically impressive works through scale or context. Works by the artists in Monumental have been seen in important biennials around the world as well as in exhibits in major international museums.

118 N. Peoria St 2nd Floor
Chicago, IL 60607

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p 312.829.3312
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Saturday, January 22, 2011

Artist: Ursula von Rydingsvard: Sculpture 1991 - 2009

Ursula von Rydingsvard, Droga, 2009.

SculptureCenter is pleased to premiere Ursula von Rydingsvard: Sculpture 1991 - 2009. Organized by SculptureCenter, this traveling exhibition will include a selection of the artist's most significant sculptures, including wall reliefs and monumental cedar works created from 1991 to 2009. The SculptureCenter presentation will also feature several works not traveling including a new cast resin piece to be installed in SculptureCenter's outdoor exhibition court. Ursula von Rydingsvard: Sculpture will be accompanied by a fully- illustrated monograph co- published by Prestel and authored by art historian Patricia Phillips. The exhibition will be on view January 24 - March 28, 2011. An opening reception will take place Sunday January 23rd 5-7 pm and is open to the public. The artist will be present.

Von Rydingsvard is best known for creating large-scale, often monumental sculpture from cedar beams, which she painstakingly cuts, assembles, glues, clamps, and laminates, finally rubbing powdered graphite into the work's textured, faceted surfaces. Her signature shapes are abstract, with references to things in the real world. Drawing on a range of sources, from the humble to the majestic, von Rydingsvard's work is recognized for its great psychological force and powerful physical presence. In wall sculptures such as Untitled (Spoon Shovel) (1991-1992) and Finger Spoon (2007), the artist lends a dignity to works resembling familiar household items; while the initially strange Maglownica (1995), a tall, bumpy cedar plank sheathed in cow intestines, turns out to have similar, personal associations. A maglownica is an object traditionally used by Polish farmwomen to soften sheets with a rubbing motion after washing. Von Rydingsvard's most enduring form is the bowl, which may appear as a shallow or towering form, and may alternately evoke nourishment, domesticity, the body, a simple enclosure, or a mountain, among other references. The exhibition includes the five undulating bowls that make up Krasawica II (1998-2001), Ukrainian for beautiful young woman, whose overall shape conveys a fluid sense of movement and vitality despite its substantial, weighty volume; as well as the large, low basin, ringed with bulbous, stuffed-intestinal forms, whose primal, physical gravity recalls the Ocean Floor (1996). The exhibition is organized by SculptureCenter and guest-curated by Helaine Posner.

After the New York presentation, the exhibition will travel to the DeCordova Sculpture Park and Museum (May 16 - August 28,2011); Museum of Contemporary Art Cleveland (September 23, 2011 - March 25, 2012) and the Patricia and Phillip Frost Art Museum at Florida International University in Miami (April 18 - August 4, 2012).

About the Artist

Ursula von Rydingsvard's first solo exhibition was presented in New York in 1975 and she has been exhibiting her work in museums and galleries internationally ever since. Her sculpture is included in the permanent collections of over thirty museums, including the Metropolitan Museum of Art, The Museum of Modern Art, and the Whitney Museum of American Art, New York; Walker Art Center, Minneapolis; Nelson-Atkins Museum of Art, Kansas City; High Museum of Art, Atlanta, and Detroit Institute of Arts. Major permanent commissions of her work are view at the Microsoft Corporation, Redmond, Washington; the Bloomberg Building, New York; and the Queens Family Courthouse, New York. Mad. Sq. Art: Ursula von Rydingsvard was presented at Madison Square Park in 2006.

Wednesday, January 19, 2011

Artist Franklin Carmichael - print


By Franklin Carmichael

Artwork Description

Dimensions: 9.5 x 12.1cm (3 3/4 x 4 3/4 in).image

Medium: wood engraving


Edition number: 2 from an edition of 50

Artist: Mariele Neudecker's - proposal

German artist Mariele Neudecker’s design, It’s Never Too Late and You Can’t Go Back, is a fictional mountainscape sculpture

It’s Never Too Late And You Can’t Go Back is elevated above the Plinth and represents a fictional mountainscape. It is ‘specific in its dramatically modelled detail’ and if viewed from above reveals the flipped and reversed shape of Britain. From below, the map is the right way around and more familiar. The juxtaposition of different views shifts the observer’s perception of the mountain from majestic and generic landscape to territorial space.

Historically mountains represent monumentality, conquest, glory, ownership. In turn, the sentiments frequently attached to landscapes have often served as reminders of our more fragile, human, moral and mortal positions in the grandest considerations of the sublime.

Artist biography

Born in 1965 in Düsseldorf, Germany, Mariele Neudecker lives and works in Bristol. Neudecker uses a broad range of media including sculpture, installation, film and photography. Her practice investigates the formation and historical dissemination of cultural constructs around the natural world, focusing particularly on landscape representations within the Northern European Romantic tradition and notions of the Sublime. Central to the work is the human interest and relationship to landscape and its images used metaphorically for human psychology.

Mariele Neudecker has shown widely internationally, notably in Biennales in Japan, Australia and Singapore, also solo shows in Ikon Gallery, Tate StIves and Tate Britain. This year Mariele Neudecker has presented a solo exhibition at Galerie Barbara Thumm, Berlin, won the Ludwig Gies Preis for her participation at Triennale Fellbach 2010 (Germany), made a new commission for Extraordinary Measures, Belsay Hall, Castle and Gardens, Newcastle upon Tyne (UK) and has been invited to spend three month at the Headlands Centre for the Arts, San Francisco (USA). She is represented by gallery Barbara Thumm, Berlin.

Elmgreen & Dragset and Katharina Fritsch chosen for Fourth Plinth commissions

London’s mayor, Boris Johnson, has announced the winning artists of the next two commissions for Trafalgar Square’s Fourth Plinth.

Scheduled for unveiling in 2012, Elmgreen & Dragset’s Powerless Structures, Fig.101 portrays a boy, ridding his rocking horse, cast in bronze. In the context of the iconography of Trafalgar Square the boy is elevated to the status of a historical hero. The work is intended to celebrate the heroism of growing up, gently questioning the tradition for monuments predicated on military victory or defeat. Here, there is not yet a history to commemorate—only a future to hope for.

Katharina Fritsch’s Hahn / Cock will be installed on the Fourth Plinth in 2013, showcasing a giant cockerel in ultramarine blue. Surrounded by Trafalgar Square’s genteel Georgian architecture, its unnatural scale and bold color aims to render the situation unreal in an effort to bring a sense of hallucination and uncertainty to the context.

The selection was made by the Fourth Plinth Commissioning Group chaired by Ekow Eshun. Ekow Eshun said: "Elmgreen and Dragset and Katherina Fritsch are distinguished artists with major international reputations. Their selection further underlines the importance and reputation of the Fourth Plinth as the most significant public art commission in Britain. Both have created imaginative and arresting artworks that fully respond to the uniqueness of their location and I can't wait to see their sculptures in Trafalgar Square in 2012 and 2013."

Trafalgar Square is a square in central London, England. With its position in the heart of London, it is a tourist attraction, and one of the most famous squares in the United Ki

ngdom and the world. At its centre is Nelson's Column, which is guarded by four lion statues at its base. Statues and sculptures are on display in the square, including a fourth plinth displaying changing pieces of contemporary art. The square is also used as a location for political demonstrations and community gatherings, such as the celebration of New Year's Eve in London.

Public art has always been surrounded by debate. This came to a head as three sculptures by British contemporary artists were temporarily placed on the empty fourth plinth at Trafalgar Square, which had remained unoccupied for 158 years.

Designed in 1832 by Charles Barry, the square was always intended to give "scope and encouragement to sculptural work of a high class" and to give "distinctive and artistic character to the square." This aspiration was again addressed with the commissioning of new pieces of sculpture to be placed on the plinth.

The project was the brainchild of Prue Leith, who in her role as Deputy Chairman of the Royal Society for the encouragement of the Arts, began to seek out ideas about what should be done to enliven the fourth plinth and to put it to good use. She also looked for sponsorship for the fourth plinth project. The foundation's way forward was to fund the project in the manner of its own commissioning process - the provision of funds to realise the works for exhibition and which would ultimately be sold. The project took place from July 1999 and ran until May 2001.

The first sculpture to occupy the plinth was Mark Wallinger's Ecce Homo: Behold the Man, installed in July 1999. A life-size figure in white marble resin standing at one end of the giant plinth, it portrayed Christ at the moment he was handed over to the crowds by Pontius Pilate. Wallinger stated, "Trafalgar Square has a tradition of being a place for crowds and it seemed to me to be the perfect context for this statue". Amidst the proud military Victorian heroes, the clean-shaven figure, with hands bound behind him and eyes downcast, portrayed an air of intense vulnerability, deliberately dwarfed by his formidable central London surroundings.
The second sculpture to be placed on the plinth, beside Nelson atop his 172 foot column, was Bill Woodrow's Regardless of History, installed in March 2000. This is the largest and most complex bronze sculpture ever undertaken by Woodrow, a great idea for a big civic sculpture. It is now installed in the sculpture park in Goodwood and looking for a good home. Cast in 130 pieces and weighing eleven and a half tonnes, the epic Regardless of History continued to spur on the debate about what should permanently occupy the plinth.

The third piece for the plinth was Rachel Whiteread's Monument. The transparency of the inverted cast of the plinth resulted in, as Whiteread stated, it "sometimes being present, sometimes being ephemeral, depending on the quality of daylight and the weather."

The Fourth Plinth Programme is funded by the Mayor of London with support from Arts Council England and sees new artworks being selected for the vacant plinth in a rolling program of new commissions.

Monday, January 17, 2011

Welsh Photographer - David Wilson

"My love of landscape photography began when I bought my first camera at the age of seventeen. I spent many carefree days riding around Pembrokeshire on my motorbike with my 35mm Canon and an ordnance survey map, learning to take landscape photographs while exploring the coast and countryside. Due to my habit of colliding with objects the motorbike is now history, but my passion for photography, particularly black and white landscape, is stronger than ever."

"Situated on the very western tip of Wales and surrounded on three sides by the sea, Pembrokeshire is an idyllic location to indulge in landscape photography."

Artist: Dick Lehman - Teabowls

Saturday, January 15, 2011

Wednesday, January 5, 2011

Yoeme deer dance headdress

Yoeme deer dance headdress

ca. 1910
Sonora, Mexico
Deer hide, glass eyes, antlers
31 x 25 x 33 cm
Collected by Edward H. Davis

Brought to life with the music of deer songs, this headdress is worn by Yoeme Deer Dancers dancing to the beat of the songs. Shaking gourd rattles, the deer dancers also wear deer-hoof rattles around their waists, as well as cocoon rattles around their lower legs. Yoeme have always believed they exist in close communion with all the inhabitants of the Sonoran Desert and the Deer Dancers help them feel this connection. Contemporary Yoeme regard the Deer Dance and Deer Dance songs as the most essential expression of what it means to be Yoeme—that is, to be entrusted with the well-being of the earth, its animals and plants.