The First Art Newspaper on the Net   Established in 1996 United States Tuesday, July 23, 2019

Six artists illustrate the broad spectrum of contemporary sculpture at Haus der Kunst
Phyllida Barlow, Untitled: stage, 2011. Photo: Wilfried Petzi, 2011.

MUNICH.- Six artists - Phyllida Barlow, Alexandra Bircken, Michael Beutler, Vincent Fecteau, Anita Leisz, and Kimberly Sexton - illustrate the broad spectrum of contemporary sculpture. Their works share an artistic process, which is sparked and formulated by the materials used. The objects are characterized by the acts executed during production: the enveloping, tearing, folding, bending and compressing of the materials involved. They also have a reserved to humorous eccentricity and a love of experimentation in common.

Since the 1960s, artists have increasingly distanced themselves from the autonomous sculpture. Artists like Richard Serra and Robert Morris confronted the artwork as a commercial object with the process and act of its creation. This ambivalent approach to the object found its continuation in institutional critique and contextual art. Today artists no longer consider these act as ends in themselves, but they select these rather with regard to their social and cultural connotations. References to the act and production is articulated differently by each artist.

Michael Beutler processes his 'resources' - meaning his basic materials such as paper, wood, fabric or glue - into spatial modules that sometimes generate spaces one can enter. Because the necessary apparatuses for these do not exist, he builds them himself: cogs for folding paper, gluing devices for connecting metal and fabric, wooden constructions for bending mesh wire, etc. These highly specialized, manually operated apparatuses are also exhibited. His 'environments' look like pre-industrial, temporarily abandoned workshops. They give the impression that the work process could be continued and the installation could be expanded on.

Phyllida Barlow also establishes direct contact with the viewer. She examines the question of how an object is observed, which perspectives are facilitated and which are blocked, and to what extent the impact of an object is determined by the manner in which it is presented. Phyllida Barlow's contribution to the exhibition incorporates the architectural and social framework of the location. At the entrance to the exhibition the artist places a stage made of painted wood and Polystyrene that opposes the visitor, forcing him or her to find a way around it. This object is followed by a collection of standing and lying columns and column fragments coated with cement. These are reminiscent of the columns on the facade and back of the Haus der Kunst creating a kind of landscape of ruins.

In her work "Columns" (2005/2011) Kimberly Sexton explores an art historical model: the "Splashes" and "Casts" by Richard Serra. For these works, which Serra began creating in the late 1960s, the artist splashed heated, liquid lead into the corners of interior spaces. Because of the temperature of the liquid material, the creative act could only be controlled partially. Kimberly Sexton counteracts Serra's emphatically masculine production process: Her casts of corners are made of hydrocal white - a specific type of plaster, more elegant and refined -, and are very fragile. The moulds are organized in groups of four suggesting pillars. Their inner sides contain gestural painterly markings made with a spoon. Taken as a whole these aspects - minimalism of form, treatment of materials, psychological connotations, inclusion of graphic elements - attest to a conceptual approach.

In the minimalistic tradition Anita Leisz addresses the fundamental question of format, volume and weight in her exploration of a work's placement within a space. Her objects are upright blocks made of materials used for the construction of interiors, such as plywood and sheetrock, and are usually open at the top. They differ from each other with regard to proportion, openings, traces of use and the cut of their edges. They all remain within a given range of sizes and weight that are manageable for Anita Leisz. The body becomes the benchmark here. It is particularly the partly minimal differences that give each object its unique character. This is emphasized by graphic interventions, such as a streak of black lacquer on a gray-white surface. By positioning the objects in relation to one another Anita Leisz opens the possibilities for social constellations.

Alexandra Bircken comments on societal role models by using materials and their handling with an awareness for their cultural significance. She works with easily available material found in nature like twigs and leaves and with objects found at flea markets or in her own belongings such as a discarded cog gear and tank bag (SOULUTION, 2010). The knotting and twisting of wool, wire, cord and rope create the connection between these elements, each of which has a specific lifespan and value. The strength of these works lies in the precision with which the materials trigger certain associations when viewed; buoys and coils of rope call forth different associations and role models than do strands of real hair, a bright yellow woolen skirt or an over-sized tampon (Alexandria, 2010).

Vincent Fecteau is represented in the exhibition with medium-sized papier-mch sculptures and wall works that he has produced over the past five years. The sculptures' multitudinous perspectives are extremely pronounced. An object's outline and shape is completely different from each angle. The viewer can only truly experience the sculpture by walking all around it. The wall objects also have no main view. The back can become the front. The starting point for every wall object is a cardboard tube, which serves for hanging.

Vincent Fecteau models the forms in a long process. By painting the works in muted colors other materials, such as wood and ceramic, are feigned. Vincent Fecteau is interested in sculptures that invite the viewer to see and understand their shapes free of references.

The exhibition catalogue with installation views will be published by Hatje Cantz beginning of December; it includes a foreword by Okwui Enwezor, and texts by Deborah Brgel, Patrizia Dander, Anette Freudenberger, Zo Gray, Michael Lobel, Julienne Lorz, and Daniela Stppel; 128 pages, German/English.

Today's News

December 17, 2011

Before The Law: Post-War sculptures and spaces of contemporary art at Museum Ludwig

Six artists illustrate the broad spectrum of contemporary sculpture at Haus der Kunst

Menil Collection celebrates return of Byzantine frescoes with exhibition until March 2012

The Coe Collection of American Indian Art on view at Metropolitan Museum of Art

Stunning Hercules figure sets new world record at Bonhams' Fine European Ceramics auction

Soaring steel sculpture by preeminent American artist Mark di Suvero at Brooklyn Bridge Park

Day three of the Collection of Elizabeth Taylor at Christie's realizes a combined $5,586,913

Nationalmuseum to get passionate this spring, exhibition of over 100 works depict emotions

$2.7 million for South Australian museum to fight bugs in its bug collection

Vast Collections, from artistic treasures to everyday items, on the National Trust go online

Kenneth Wayne appointed Deputy Director for Curatorial Affairs at the Noguchi Museum

Donors honor retiring Cantor Arts Center Director with gifts of art and endowed fund

Marklin boat, Ives man on rocking horse top the parade of toys at Bertoia's $1.55M auction

MARA3D delivers first mobile art reference app for artists

Sotheby's sells an unpublished autograph manuscript by Charlotte Brontë for £690,850 / $ 1,069,229

Exhibition of new work by Alan Michael at David Kordansky Gallery

Fellowship Exhibition at the School of the International Center of Photography

Museum Kunst der Westküste to create a crocheted coral reef as a collective, cross-border installation

Most Popular Last Seven Days

1.- Original 'Star Wars' creators lift lid on special effects challenges

2.- Lost '$170 million Caravaggio' snapped up before French auction

3.- Mansell's 'Red Five' on pole for Bonhams sale

4.- Impressionism's 'forgotten woman' shines in new Paris show

5.- Sotheby's to auction the best-surviving NASA videotape recordings of the Apollo 11 Moon Landing

6.- Exhibition explores Dutch and Spanish painting of the 16th and 17th centuries

7.- Cyprus discovers 'first undisturbed Roman shipwreck'

8.- Sotheby's unveils 'Treasures from Chatsworth' with Leonardo Da Vinci drawing, Lucian Freud portraits, and more

9.- Infamous botched art restoration in Spain gets makeover

10.- 1958 Gibson Flying V Korina played by Dave Davies to grab center stage in Heritage Auctions' sale

Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .


Ignacio Villarreal
Editor & Publisher:Jose Villarreal - Consultant: Ignacio Villarreal Jr.
Art Director: Juan José Sepúlveda Ramírez

Royalville Communications, Inc
Founder's Site. The most varied versions
of this beautiful prayer.
to a Mexican poet.

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful