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DTSTART;VALUE=DATE:20200125
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SUMMARY:Barry X Ball: Remaking Sculpture
DESCRIPTION:Since 1997\, Barry X Ball has adapted innovative technologies and traditional techniques to make carefully honed sculptures in semi-precious stones—rarely used due to their difficulty to carve and lack of consistency—that push the physical and conceptual boundaries of sculpture. The artist reinvents traditional sculptural formats and existing art historical landmarks using state-of-the-art\, 3D scanning technology\, computer-aided modeling software\, and CNC milling machines\, in combination with centuries-old craft techniques requiring thousands of hours of detailed handwork. Barry X Ball: Remaking Sculpture is the artist’s first major U.S. museum survey. \n\n\nThe exhibition features works from the past three decades delving into and providing context for the two main series of that period\, the Portraits and the Masterpieces. The Portraits series transforms precise digital scans of carefully tooled plaster casts of his subjects—friends\, artists\, and art world figures—into strange\, evocative sculptures that seem at once ancient and of the digital age. Rendered in semi-precious materials such as Belgian black marble\, Golden Honeycomb calcite\, and Mexican and Iranian onyx\, Ball takes advantage of the unique properties of each\, allowing irregularities and flaws in the stones to complicate the surfaces and suggest natural deterioration or destructive intervention. Additions and distortions made to the digital files result in illusionistic and theatrical effects\, the stone in some appearing soft and supple\, like stretched skin\, or in others retaining the linear marks of the milling process to underscore its digital origins. More recently\, Ball has begun to push the digital technology to its limits\, creating fine\, open-work\, gold and silver portraits\, the likeness of which is composed of elements associated with the life of the subject. The motifs define the exterior surface of the portrait\, and well as details on the interior of the head\, requiring both 3D printing technology to produce the model and the expert collaboration of the goldsmiths at Damiani jewelers to produce the final product. \nThe Masterpieces series takes as its subject works of art history\, from the ancient Greek and Roman Sleeping Hermaphrodite (with 17th century marble mattress by Gian Lorenzo Bernini) in the collection of the Louvre to modernist works by Umberto Boccioni and Medardo Rosso. For these\, Ball works with the institutions responsible for each work\, making high-resolution 3D scans of the original works\, donating the raw scans for documentation and conservation purposes\, and using them as points of departure for his reinterpretations of the works. The artist digitally flips the composition\, so that his work mirrors the original; accentuates\, reduces\, eliminates\, or adds details; and produces the result in exotic stones whose pitting\, veining\, and translucency suggest a host of new interpretive possibilities. \nOrganized by the Nasher Sculpture Center\, Barry X Ball: Remaking Sculpture will be accompanied by a handsomely illustrated catalogue. The catalogue features an essay by Nasher Chief Curator\, and curator of the exhibition\, Jed Morse\, as well as contributions by David C. Hunt\, an independent curator and writer\, and Glenn Adamson\, a noted curator and scholar who works at the intersection of craft\, design history\, and contemporary art.
URL:https://artinamericaguide.com/event/barry-x-ball-remaking-sculpture/
LOCATION:Nasher Sculpture Center\, 2001 Flora Street\, Dallas\, TX\, 75201\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20191026
DTEND;VALUE=DATE:20200203
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SUMMARY:Sightings: Anne Le Troter
DESCRIPTION:In her first U.S. commission\, French artist Anne Le Troter will consider the ethics of eugenics in a linguistic score and site-specific installation. \n\n\nSightings: Anne Le Troter will be part of the Nasher Sculpture Center’s Sightings series of smaller-scale exhibitions and installations that highlight new work of emerging or established artists. Born in Saint Etienne\, France in 1985\, Le Troter lives and works in Paris. Her body of work explores the rhythms and physicality of language through sound: “I arrange ‘language blocks’ one after the other\, reworking them\, using the constraints of each phrase: duration\, tone\, and breathing.” Le Troter’s process begins with spoken language: she collects found recordings—a telemarketer’s script or medical dictation\, for example—that she then edits and reconstructs as a linguistic score\, often combining a multitude of voices speaking in conversation\, in unison\, or discord. The artist then builds installations for her audio pieces that function as spaces to listen. These installations often include banal furniture evocative of transitional places—waiting rooms\, bus stations\, or office cubicles—and fall somewhere between décor and set design: “I am trying to set up environments that are as stable as possible\, to let the words develop. I’m also trying to make a place for the spectator.” \nFor the Nasher commission\, Le Troter is developing a sound piece that comprises hundreds of audio samples she collected from a U.S.-based cryobank\, a facility or enterprise that collects and stores human sperm from sperm donors for use by women who need donor-provided sperm to achieve pregnancy. In the recordings\, donors respond to questions on family\, life\, and their vision for the future\, while employees provide their impressions of donors’ genetic qualities\, hobbies\, values\, and physical traits. Altogether\, the samples form portraits of prospective donors\, which Le Troter distorts through the repetition of certain phrases\, utterances\, and pauses. \nInspired by such science fiction novels as H.G. Wells’s The Island of Doctor Moreau (1832) and Aldous Huxley’s Brave New World (1932)\, Le Troter’s sound installation will consider the ethics of eugenics and the role of language in the endless search for an absurdist ideal.
URL:https://artinamericaguide.com/event/sightings-anne-le-troter/
LOCATION:Nasher Sculpture Center\, 2001 Flora Street\, Dallas\, TX\, 75201\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20190914
DTEND;VALUE=DATE:20200106
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SUMMARY:Elmgreen & Dragset: Sculptures
DESCRIPTION:In the fall of 2019\, the Nasher Sculpture Center will present Elmgreen & Dragset: Sculptures\, an exhibition that will mark the Scandinavian duo’s first major museum presentation in the U.S. Michael Elmgreen and Ingar Dragset have worked together as Elmgreen & Dragset since the mid-1990s. \nIn their sculptures\, installations\, and performances\, they re-interpret familiar designs and spatial structures that surround us in our everyday lives with criticality and subversive wit. From their permanent\, site-specific installation of a forever-closed Prada boutique in the West Texas desert to their contributions to the Danish and Nordic Pavilions at the Venice Biennale in 2009\, to their conception of a faux art fair in Beijing in 2016 or their giant upright swimming pool Van Gogh’s Earat Rockefeller Plaza the same year\, Elmgreen & Dragset consistently devise new possibilities in the way art is presented and perceived\, and how we use and organize public space. \n\n\nAt the Nasher Sculpture Center\, the exhibition will focus on Elmgreen & Dragset’s sculptural production\, presenting together for the first time a large selection of sculptures that illustrate the artists’ use of multiple aesthetics and working methods\, and show entry points from post-minimalism\, conceptual strategies\, and the figurative sculpture tradition. The artists’ diverse approaches to making often incorporate performative and narrative elements on subjects that encompass the personal\, the social\, and political\, such as youth and aging\, HIV and AIDS awareness\, gay rights\, and the privatization of public space. Organized by Nasher Assistant Curator\, Dr. Leigh Arnold\, the exhibition provides a long overdue look at the work of two of contemporary art’s most dynamic and multifaceted artists. An illustrated catalogue with essays by Dr. Arnold\, Dr. David Getsy of the School of the Art Institute of Chicago\, Dr. Joan Kee\, of the University of Michigan\, and Dr. Alex Potts\, of the University of Michigan\, as well as the first overview of the artists’ public sculpture co-authored by Arnold and writer and editor\, Anita Iannacchione\, will be published to accompany the exhibition.
URL:https://artinamericaguide.com/event/elmgreen-dragset-sculptures/
LOCATION:Nasher Sculpture Center\, 2001 Flora Street\, Dallas\, TX\, 75201\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20190427
DTEND;VALUE=DATE:20191028
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SUMMARY:Recent Acquisition: Nicole Eisenman\, Sketch for a Fountain
DESCRIPTION:The Nasher Sculpture Center proudly unveils its recent acquisition\, Sketch for a Fountain\, a group of five sculptures by Nicole Eisenman.  Conceived for the 2017 Münster Sculpture Projects in Münster\, Germany\, the work is an ambitious\, contemporary reimagining of the timeless subject of fountain statuary. \n\n\nSketch for a Fountain was inspired by the long history of fountains\, one of the oldest forms of public art. Eisenman’s figures—larger-than-life\, of indeterminate gender\, and almost cartoonishly fleshy—exemplify the appeal of her humorous and humane aesthetic. Lounging and dozing\, they could be lingering in an arcadian reverie or sleeping off a bacchanal\, their torpor disturbed only by the gentle sprinkles of water spewing from different parts of their bodies\, which in places sprout elements that seem to be drawn to the dampness\, such as mushrooms and slugs. Eisenman’s figures evoke associations with a range of art historical precedents\, including Greco-Roman representations of hermaphrodites\, Paul Cézanne’s Bathers\, George Segal’s introspective figures\, and the whimsical public sculptures of Tom Otterness. \nKnown initially for her work in painting\, Eisenman made sculpture as a student at the Rhode Island School of Design and has recently begun to make a mark for herself in the medium.  An important precedent for her Münster project was the 2013 Carnegie International\, where\, along with a selection of her paintings\, she exhibited a group of sculptures in the museum’s sculpture court\, alongside Greco-Roman sculptures from the permanent collection\, and described her figures as “scruffy\, bohemian great-great-grandchildren of those gods.” Working largely in plaster\, with occasional items of assemblage\, Eisenman has focused primarily on figures and heads. \nInstalled in and around the pond in Nasher Garden\, Sketch for a Fountain expands the consideration of the figure and sculptural ensembles also on view there\, such as Segal’s Rush Hour and Magdalena Abakanowicz’s Bronze Crowd.  Three of the figures (those with water elements) were purchased through the Kaleta A. Doolin Acquisition Fund for Women Artists\, while two sculptures (those without water elements) come to the Nasher as a promised gift from the Green Family Collection.
URL:https://artinamericaguide.com/event/recent-acquisition-nicole-eisenman-sketch-for-a-fountain/
LOCATION:Nasher Sculpture Center\, 2001 Flora Street\, Dallas\, TX\, 75201\, United States
CATEGORIES:Exhibition
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