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EXHIBITIONS
Some Sculpture: Albee's Choice
Saturday, May 27, 2006
Reception for the artists 4-6 pm
Exhibition on view through September 16, 2006
"Some Sculpture: Albee's choice Sculpture out of doors and outdoor sculpture is, of course, not the same thing."
Sculpture out of doors is precisely that: sculpture which is out of doors. It helps if the sculpture "belongs" out of doors, if it is happy there. Clearly, it should be large enough that we see it before we fall over it, and equally clearly, it should be made of materials which will not disintegrate in the open or suffer even slowly exposed to the elements. Metal and stone are the usual materials which serve best, though some woods have a surprising injury-free lifetime.
Outdoor sculpture, on the other hand, while it should have the virtues stated above, is sculpture expressly created to be out of doors, and would be have an affinity for the open air? Should it relate in some way to an outdoor environment? Are clouds and trees its ideal companions? The exhibit we are showing this summer at LongHouse is interesting other ways and pieces which are comfortable in either environment, as well as at least one which was made for indoors and becomes a different experience in the open air. Enjoy and discover which is which.
Edward Albee
Willard Boepple–
“In all of my sculpture it is the expressive power of the form that drives the making. I choose the vocabulary and material for the sum of its material and form – what you see – to speak directly without explanation, apology or irony. The sculptures have no other function than to do this. If they have the look of function from time to time it is the vocabulary showing through, the objects that were used as the building blocks of the sculpture.
Functional objects, however fanciful, must function. Sculptural form need not. Sculpture's privilege is to reach into the heart and mind driven purely by the visual imperative.”
DeWitt Godfrey –
Godfrey’s works are in distinguished collections, including Museum of Fine Arts in Houston, Texas and Brooklyn Museum in Brooklyn, New York. His has had site-specific sculptures at Socrates Park in Long Island City, New York (2000) and Sculpture Center in New York City (1998)
Casper Henselmann –
Henselmann’s sculpture relate to an urban environment. Coupled with the energy of his forms and his choice of materials his sculpture reminds us of an industrial society. Henselmann has received numerous grants including the Louis Comfort Tiffany Sculpture Award in 1962 and the Pollock Krasner Foundation Award in 2004. He has exhibited extensively and is many collections worldwide.
Mia Westerlund Roosen –
“For quite a few years I have had in the back of my mind, a large sculpture based on Matisse’s The Dance 1909, a piece in the landscape, large enough to hold the landscape. Circles and ellipses seem peculiarly adept at doing this. Back in the Seventies I had already experimented with a series of wall pieces – Muros – but Bolero was seen from the start, as the title suggests a less reductive, more seductive, more expressionistic piece.
This piece is made with heavy industrial felt impregnated with polyester resin and finished with a surface of a mixture of gel-coat and sand which is ground to a semi-smooth finish.”
Richard Nonas –
“Richard Nonas is an extreme pioneer in the recent history of American sculpture. His bias is toward passionate factuality”. He produces large geometric pieces using stone, steel or wood—pieces that remain on the ground or floor rather than on a pedestal.
Ned Smyth –
“Ned Smyth’s art is alive with contradiction. Astonishingly direct, it has happily eluded standard classification. While exploring the dark side of our psychic condition it is exuberant. Simultaneously sculptural and pictorial, architectural yet figurative, it is both emotional and cerebral”.
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