I haven’t posted any new entries over the past couple of weeks on account of a busy travel schedule that took me to from Chicago to Louisville (for a very lovely non-sculpture, though hilariously art history-related wedding), then to Dallas (for a very lovely new exhibition on ceramic sculpture), back to Chicago for night, before departing for a new academic term in Leeds. Over the next few weeks I will be posting on the two current exhibitions at the Henry Moore Institute, The Age to Innocence: Replicating the Ideal Portrait in the New Sculpture Movement and Indifferent Matter: From Object to Sculpture, a piece related to a new research project on the Italian artist Alberto Burri, and the Nasher Sculpture Center’s recently opened Return to Earth: Ceramic Sculpture of Fontana, Melotti, Miró, Noguchi, and Picasso,1943-1963; the latter being the reason for my trip to Dallas.So a nice early autumn line-up of sculptural things, but I thought I would do a quick post todayabout Dallas as a bona-fide destination for art and architecture enthusiasts.
Now in full disclosure, I lived in Dallas for six years. I began my career at the Nasher Sculpture Center and fell in love with sculpture while working there for nearly all of those six years. I interned at the Dallas Museum of Art, and received an MA from Southern Methodist University. So I unavoidably have a bias, but I think as an outsider who never fully acclimated and with the exception of its appearance in the above title, fervently resisted the ubiquitous ‘y’all’ while living there, I am also cognizant of the widespread bias against Dallas, especially by those based in larger, more cosmopolitan cities. None of this, however, should dissuade you though from taking my most sincere advice to put Dallas on your arts radar, especially for this autumn. A lot has changed in Dallas and there is a lot going on. Continue reading “If you like art, y’all really should get yourself to Dallas…”
Richard Artschwager is not someone commonly taught in survey art history courses or an artist with widespread name recognition – something the recent retrospective exhibition attempted to rectify. Besides his use of non-traditional materials like Formica, part of the reason for this oversight is due to Artschwager’s ability to fit or not fit into a range of artistic tendencies that emerged in the 1960s. He was and is often associated with Pop and/or Minimalism, and yet is simultaneously written off as neither. While Artschwager’s specific material choices and his exploitation of the tenuous boundary between fine art and design may seem to put him at odds within a narrow, linear history of modern art, for all of his uniqueness, his approach to art making and his focus on the space and substances of everyday life has rich parallels to those of his contemporaries.
Like Andy Warhol’s Brillo Boxes or Tom Wesselmann’s Still Life #30, Artschwager’s plastic table pieces emphasize surface, bright, artificial colors and materials, and objects of contemporary consumer culture. With their basic geometric forms and physical presences they also can be seen in the context of the numerous minimalist cubes fabricated in industrial materials created by Donald Judd or Tony Smith. Further, one of the more seemingly distinctive aspects of his work from the mid-1960s, his choice to create sculptures that function as functionless pieces of furniture, actually situates his work within a long and very contemporary history of sculptors creating or referencing furniture. There are of course earlier examples like Isamu Noguchi as well as those from the late twentieth century of artists experimenting with furniture design, often blurring the lines that distinguish a sculpture from an object to sleep, eat, or sit in. Continue reading “Sculpture and Designed Things Part III: ‘Art is Useless’”