Diversities of Sculpture/ Derivations from Nature curated by Bonnie Rychlak

Diversities of Sculpture/ Derivations from Nature curated by Bonnie Rychlak

April 28 thru October 6, 2012 Ronald Bladen | Anne Chu | Brian Gaman Jene Highstein | Judith Shea | Daniel Wiener Installation of new work in the gardens and Diversities of Sculpture/Derivations from Nature is made possible with the generous support of the Johnson Family Foundation, Barbara Slifka, Cowles Charitable Trust, and Vital Projects Fund. Art in the Gardens is funded in part by Suffolk County under the auspices of the Office of Cultural Affairs, Steven Bellone, County Executive. Diversities of Sculpture

he miscellany of sculptures by six artists in relationships between them. Their distinct ideolo - TDiversities of Sculpture/Derivations from Nature gies and approaches to making sculpture reveal is a gathering of pioneering, idiosyncratic, and tra - shared traces to , conceptualism, and ditional works and practices that have no sweeping feminist art trajectories. Many of the artists found basis in common except for a tenuous connection paths to their work through definitions of sculpture to a web of historical tenets. Some of these sculp - that were dismantled several decades ago while tures were designed for display inside architectural others were pioneers on these freeways, breaking structures, white box galleries, and museums while down definitions and conventions and laying the others were conceived to be specifically situated groundwork for further changes, investigations, and outdoors. All are now sighted at the LongHouse Re - advancements for subsequent generations of serve gardens so as not to intrude or trespass, po - artists to explore. Still others look further back to sitioned as compliments and foregrounding their classical conventions and narrative traditions from natural surroundings. other cultures to advance their practice.

The selection, inclusion, and orientation of these Ronald Bladen leads the charge among these six works into the grounds of LongHouse for a brief five artists as one of the acknowledged fathers of Min - months may, in fact, be their only actual similitude. imalism. Influential, Bladen died in 1988 and unfor - Although closely located to one another and shar - tunately and erroneously, continues to be popularly ing the LongHouse gardens as their collective linked to the more hard-core minimalists like stage, the sculptures included in this exhibition are and Robert Morris . Early on, however, conceptually varied and manifestly dissimilar in ap - Bladen rejected many of these artists’ anti-anthro - pearance but their physical differences don’t nec - pomorphic attitudes. As a professed romanticist essarily tell the whole story. with strong beliefs in the importance of nature for Ronald Bladen , Anne Chu , Brian Gaman , Jene artistic inspiration, Bladen was also concerned with Highstein , Judith Shea , and Daniel Wiener are dis - the human body, its gestures and expressions. playing objects that confirm some broad historical Even his somewhat indirect, fanciful processes of E s t a t e

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Ronald Bladen beside museum staff during the construction of X, 1967. Scale as Content, the Corcoran Gallery of Art. . Washington DC. 1967. production can be seen as expressive. Bladen took painted plywood that seemed to take over and re - great pains to construct and conceal infrastructures organize the space they occupied.” Highstein’s and elaborate frameworks for his geometric forms work is a bridge of sorts, straddling the minimalists’ that in fact were structurally unnecessary. As Irving project with a more material based practice, moving Sandler points out in a catalogue essay for an exhi - sculpture toward an “in-betweeness,” or “between bition of Bladen’s work at the Jacobson Howard geometry and gesture” as Richard Armstrong titled Gallery in 2008, “Bladen used a form of expres - his essay for a sculpture survey exhibition at the sionism, inventing a rich variety of volumes and Whitney Museum of American Art in 1990. shapes, many based on the upward aspiring diago - During the late 1960s through the mid-1970s, nal, the heroic diagonal—a metaphor for transcen - Highstein’s artistically formative years, post-mini - dence.” Bladen himself noted, “to reach that area mal sculpture focused on materiality and process of excitement belonging to natural phenomena such and Highstein’s early trajectory is clearly connected as a gigantic wave poised before it makes its to process as well as the anti-form discourses of fall....The drama is best described as awesome or that time. His critique focused on the understand - breathtaking.’’ ing that an object’s meaning was to come solely Long before his New York art world ascendancy, from its own presence, without reference to transcendence through art was a philosophical as - metaphor, biography or any other outside circum - piration in Bladen’s worldview. As early as 1941, stances. Highstein’s work, over time, has moved he was establishing spiritually oriented thinking that between employing the geometric constraints of eventually led him to engage with East Asian minimalism and organic, asymmetrical forms that philosophies. It was at this time that he experi - he integrates or builds into empty architectural mented artistically with earth and plants, investiga - spaces or landscapes. Whether interjecting and tions that would subsequently lead to a series of constructing masses of concrete into delineated drawings, The Earth Drawings , which, together with environs in gardens, parks, and public arenas or the poems by , would be published placing stones in relational conversations, indoors in the journal, The Ark , in 1947. or out, Highstein’s concern for the materiality and processes of art making have remained fundamen - Jene Highstein , who probably owes more than a tally important to him. mere nod to the renowned minimalist, succeeds Ronald Bladen historically. Highstein once noted The hand hammering of the stainless steel Flora that his “…first memorable show was Primary Tower , although not visible as a technique, is nev - Structures at the Jewish Museum in the mid- ertheless a palpable gesture as one explores the 1960s. I saw the work of Ronnie Bladen and others mysteriously beautiful surface of the tower’s mon - who made very large abstract constructions in umental presence. Equally compelling is the

1 , Ronald Bladen Sculpture of the 1960s & 1970s, Monumental & Garden Scale Outdoor Sculpture, Working Models and Related Drawings, exh. cat. (New York: Jacobson Howard Gallery, 2008), 2. residue of the carving process on Dangerous Ob - tures of geometry), the cosmos (globes and plan - jects (External and Internal) , as the pitting and tex - ets), and, to principals from the classical Japanese turing of the hard stones remain as residue of their garden manual, Sakuteiki , that literally defined the creation, mimicking the tactile qualities of the art of garden making, where composed arrange - ground beneath them. ments of stones imitate the intimate in landscapes and bring the garden viewing experience into an un - Continuing to follow this historical thread, Brian expected focus. Gaman’s iron and steel “globes” can be loosely tied to Post-minimalism, as they both imitate the serial - More biotically inspired but no less out of the post- ity and disrupt the pure rationalism of minimalism minimalist trajectory is the work of Daniel Wiener while continuing to emphasize the contingency and whose anti-form sculptural process is free flowing literality of the art object. Gaman’s work is more and organic. His sculptures at the LongHouse Re - closely linked to Highstein’s early influential “pipe” serve seem eager to disappear in the vegetation pieces from 1973 than to Bladen’s idealized and rather than be situated naked on gravel. Wiener’s confrontational structures. However, Bladen and sculpture, flipping between functional object sug - Gaman do share the conviction that the image of gestions and a transmogrified botanical experiment, their sculptures and the objects themselves are appears to be outwitting the rational predisposi - congruent. tions of the viewer while allowing access to the Any relationship between Highstein and Gaman, artist’s unconscious mind. Confronting Wiener’s however, may rely on the intrinsic strength and ma - exotic hybrids in a genteel garden environment, vis - teriality that their objects convey to the viewer. itors brave the animus (female perhaps) of the Gaman’s Untitled sculptures, like Highstein’s Dan - artist and the cartilage-like framework of an alien gerous Objects (Internal and External) , express a mushroom form. sense of monumentality without in fact, being Two of the six artists, Judith Shea and Anne Chu , monumental, contingent on the viewer’s physical are showing cast bronze sculptures that are figura - relationship to the object to establish the phenom - tive and ostensibly traditional. Their sculptural prac - enology of its bigness, a relationship that is cer - tices harken back to sculpture as a narrative tainly more visceral than in Bladen’s The X container. Anne Chu insists on exploring a range of Garden . materials and craft techniques while invoking the If however, one can put the lineage of art history history of figuration across cultures and eras to cre - aside, there may be other shared references in the ate sculptures that address ritual, storytelling, and art of these three sculptors to bigger propositions. mythology. Chu has traveled extensively, looking to To look just below the surface readings, there are find inspiration from the terracotta warriors of clearly allusions to metaphysics (invisible struc - China, the medieval friezes in Europe, classical

2 Laura Mattioli Rossi, Jene Highstein Lines in Space , (Milano and New York: Charta Books Ltd., 2008), 16. 3 Richard Armstrong “Between Geometry and Gesture,” The New Sculpture 1965-75, exh. cat. (New York: The Whitney Museum of American Art, 1990), 12. Western sculptures, and surely the taxidermied an - from a body of work that was inspired by the events imals in natural history museums. She is always of September 11, 2001. The golden head of Idol referencing archetypes in her work, perhaps explor - bears an enigmatic expression that can ignite a ing a personal soliloquy by which, through argument viewer’s recollection. Shea’s sculptures are effi - and trial, she can express the inexplicable. gies, narrative containers. If exhibited Indoors, Idol would appear more sober and ascetic but when sit - Chu’s Maranao Man , is a result of her studying uated outdoors, with the sky above, The Black Mir - the freestanding bronze sculptures of Southeast Asian guardian figures. Maranao Man also recalls ror pool below and green loveliness all around, Idol images of the Greek god Pan or the Green Man, is at moments more Panglossian than woeful. the pagan deity of vegetation and growth. This al - Placing sculpture in a garden is a problematic af - lusion to the Green Man is in a consummate con - fair, particularly in the LongHouse Reserve as text in the LongHouse gardens. The sculpture these gardens have already successfully married literally and figuratively is standing guard over its the scenic and the sensory. Additionally, the Long - new and natural context. House Reserve has no prominent vistas that Judith Shea’s production history is more idiosyn - change, only leaves and flowers that are seasonal, cratic than the other artists in this exhibition. and colors that are vibrant or muted. Everything is Trained as a clothing designer, she is best known relative, visions suddenly loom up in scale as oth - for her hollow bronze sculptures formed around ab - ers diminish. The gardens effectively translate, sent human figures, creating what she calls “anti- transform, and sometimes transfigure the man- monuments” or substitute totems. Shea’s Idol made objects they envelop. wears a coat. The coat has been a distinctive motif in many of Shea’s sculptures for decades. Whether A garden’s true purpose may be only the contem - as a cloak for a saint or a raincoat for an urban busi - plation of space and time. Locating a group of nessman, the garment is coverage and protection seemingly disparate sculptures in it, particularly dis - from the environment, from a world where humans crete objects that were not made specifically for the are vulnerable if naked. site or built into it, is indeed a challenge for any cu - rator. I hope the sculptures selected for this exhi - Striving to compare the gods and goddesses of con - bition do not challenge or confront the splendor of temporary western culture with those of the past, the landscape, but rather that the gardens enhance Shea employs metal shafts to hold her figures erect. and embrace them. Within the complex and varied As a conceptual device, Shea is referencing the derivations of nature, diversity is subdued as new mounts of sculptural antiquity fragments used for impressions are created. their presentation in museums. Idol , cast specifi - cally for this LongHouse Reserve exhibition, evolved Bonnie Rychlak Ronald Bladen

onald Bladen (1918-1988) was born in Van - tent,” at the Corcoran Gallery of Art in 1967, Rcouver, Canada, and studied at the Vancou - that also featured the work of Barnett Newman ver School of Art with the figurative painter, and . In 1966, he showed a tripar - Allen Edwards. In 1939, Bladen moved to San tite work, Three Elements , at the exhibition, Pri - Francisco to continue his studies in painting mary Structures : Younger American and British and sculpture at the California School of Fine Artists , One of the most iconic exhibitions of Arts. During the war years, he worked as a post-war American Art at the Jewish Museum ship’s welder at the naval dockyards in San in New York, it gave the public their first oppor - Francisco. tunity to become acquainted with minimalism. Through his friend, Kenneth Rexroth, once Bladen’s sculpture was already generating an dubbed the “Father of the Beats” Bladen met effect on a circle of younger artists including the poet, Michael McClure, as well as the writ - Carl Andre , Donald Judd , Sol Lewitt and ers, Allen Ginsberg, , and Henry Lawrence Weiner . Miller. On the advice of his painter friend, Al In 1968, Bladen was awarded the John Simon Held, he moved to New York in 1956. In 1957 Guggenheim Memorial Foundation Fellowship became a founding member of the Brata and in 1977 he received another grant from the Gallery cooperative on Tenth Street, where he National Endowment of the Arts. After 1967 had an exhibition of his paintings in 1958. In 1962, he exhibited his painted plywood reliefs Bladen would receive numerous commissions for the first time at the Brata Gallery and the including The Cathedral Evening in 1969, Green Gallery in New York. The following year Vroom Sh-Sh-Sh in 1974, and Raiko I in 1975 he made his first freestanding, colored sculp - for Galerie Schmela in Düsseldorf. tures from plywood boards and metal struts. In 1976, he created Cosmic Seed for Des In 1964, Bladen showed his sculpture, White Moines (Iowa), in 1977, he created Kama Z, at an exhibition in the in Sutra for Central Park in New York, in 1978 Or - New York and was awarded the National Medal acle’s Vision for Springfield (Ohio), Black Light - The X Garden , 1965 of Arts by the National Endowment of the Arts. ning 1981 for Seattle, and for the campus of painted aluminum edition 2/3 Bladen’s “X (Monumental)” (1967) was the King Faisal University in Riyadh as well as Host 84 ¼” x 96” x 48 ¾” most prominent work on view in “Scale as Con - of the Ellipse for Baltimore (Maryland). Estate of Ronald Bladen

Anne Chu

nne Chu (1959) was born in Anne Chu retrieves ancient sculptural forms Aand received her MFA from Columbia Uni - from Buddhism, classicism, and from mod - versity. Currently she lives Queens, New York. ernist models. Many of her sculptures are re- Chu has had solo exhibitions at the Museum assemblages of forms that she has broken of Contemporary Art, North Miami; the Weath - down into anatomical components, some in erspoon Art Museum, Greensboro, North Car - bronze, others in ceramic. The single bronze olina; Berkeley Art Museum & Pacific Film Archive, California; Dallas Museum of Art, sculpture called Maranao Man , was inspired by Texas; and Cleveland Center for Contemporary a peoples in the Philippines island of Mindanao Art, Ohio. who are famous for their sophisticated weav - ing, wood and metal craft but this sculptural In 2010, Ann Chu received a Guggenheim Fel - form also recalls the symbol of the pagan lowship, in 2001 the Penny McCall Award and “Green Man” found in many cultures around the Anonymous Was a Woman Foundation Grant. Additionally, in 1999 Chu was honored the world, that often relates to natural vegeta - Maranao Man , 2004 with a grant from the Joan Mitchell Foundation tive deities. Anne Chu has a clear desire to cast bronze AP (edition of 3, 1AP) evoke ritual, storytelling, and mythology and in 1997, an award from the Louis Comfort 92” x 12.5” x 26” Tiffany Biennial Competition in New York. through her work. collection of the artist

BRIAN GaMAN

rian Gaman (1948) was born in North Hol - terial choice was based on its weight and mass Blywood, California and attended college at and the visceral, emotional weight of the mate - the University at Santa Barbara and the Univer - rial that keeps the sculptures from becoming sity of California at Los Angeles. He later re - too conceptual. ceived an MFA from . His object work and work on paper has been shown locally Literal weight is crucial. The hemispherical and nationally, including at 112 Greene Street, units are kept to a one-man manageable American Fine Arts Co. and Ace Gallery. His weight. The hemispheres sit inside steel rims work is in collections in the United States and and armatures that reinforce the sense of the Europe. Recently he exhibited some of his new ‘spinning globe’ motif. work, large abstract ink jet images at the Bog - The iron material also provides color through art Salon in Bushwick, . Gaman splits the random, unique surface markings left by his time between New York City and East Hamp - each casting. These markings recall continen - ton, New York. tal reliefs on a globe, or perhaps human fea - Untitled (three globes), The sculptural hemispheres exhibited at the tures, demonstrating the isomorphic 1987 LongHouse Reserve were made in 1987, as relationship between the human head and the cast iron, steel 2 at 34” x 30” x 30” Gaman’s current work is no longer configured round world. The globe/head totality can be 1 at 37” x 22” x 22” for outdoors conditions. Made in iron, the ma - comprehended only as an emotional gestalt. collection of the artist

JENE HIGHSTEIN

ene Highstein (1942) was born in Baltimore was installed at Governors State University in Jand earned a BA in philosophy from the Uni - University Park, Illinois. He created this form by versity of Maryland in 1963. He completed hand-troweling concrete over an armature. His postgraduate work in philosophy at the Univer - later works have shifted from dark representa - sity of Chicago, and committed himself to mak - tions of negative space to paler forms that em - ing art in 1966. He went on to study drawing phasize dimension and fullness, with subtly at the New York Studio School before earning hand-shaped surfaces. a Post Graduate Diploma from the Royal Acad - Highstein has received a number of awards, in - emy Schools, London, in 1970. cluding four National Endowment for the Arts In the late 1960s, Highstein began to work on grants, a John Simon Guggenheim Award, and a large-scale, using simplified sculptural forms a St. Gaudens Memorial Prize. His public sculp - and monochromatic images on paper—often tures are installed at sites including the Walker the formal foundation for future works, he dis - Art Center, ; Carnegie Bank collec - played them along with his sculptures. Minimal - tion, Stockholm; and the Villa e Collezione ist artists, such as Donald Judd and Sol Panza Villa Litta, Varese, Italy. Highstein has Flora Tower , 2011 Lewitt , emphasized stark geometry and pris - had solo exhibitions at the Hartford Art Center, hammered stainless steel tine surfaces while Highstein’s early works— West Hartford, Connecticut (2000); Art Mu - edition 1/3 curved steel sheets and geometric seum of Memphis (2001); and P.S.1 Contem - 165” x 15” x 32” pipes—largely reflected those aesthetics but porary Art Center, Queens, New York (2003), collection of the artist involved the application and manipulation of among others. In 1998, he produced a theater Dangerous Objects wood, stone, glass, and concrete by hand, cre - production, Flatland , for the Brooklyn Academy (Internal and External), ating what appear to be organic, fundamental of Music, New York, and in 2004 he collabo - 2004 Swedish diabase forms. Highstein produced a hulking, dark, bio - rated with the architect Steven Holl on an ice 28” x 37” x 32” (each) morphic sculpture, Flying Saucer (1977) that structure for the Snow Show in Finnish Lap land. collection of the artist

Judith Shea

udith Shea (1948) is best known for a series materials. From simple iconic textile “clothes,’ Jof works in bronze she created from empty and hollow bronze forms around an absent fig - clothing forms. Shea’s early training was as a ure, to carved wooden “anti’ monuments. Her clothing designer, receiving her BFA from Par - earliest works were simple wall hangings made sons and The New School in 1975. In 1994 of pliant fabric but in the mid-1980s she began she was granted a fellowship to the American casting fabric in metal, giving greater strength Academy in Rome to study the work of Gian and rigidity to her forms. Lorenzo Bernini and Michelangelo. Beginning with a work in cloth from 1979, titled Judith Shea is widely exhibited in American mu - I Like Ike , Shea has been employing a black seums such as the Whitney Museum of Ameri - overcoat has a distinctive motif and reference can Art, The Nelson-Atkins Museum of Art in to the human figure and the human condition. Kansas City, The Walker Art Center, The Penn - In the late 1980s she began utilizing a shaft or sylvania Academy of Fine Arts in Philadelphia, post in her work as the armature for the hollow as well as many others. She has been recog - bronze, often fragmented, clothing/torso nized by the National Endowment for the Arts pieces. with an Individual Fellowship in Sculpture in In the recent body of work related to the legacy 1984 and 1986, The Rockefeller Foundation of 9-11, JUDITH SHEA: Legacy Collection , Shea Fellowship to the Bellagio Study Center in Italy returns to the use of the post or shaft armature in 1993, Fellow of the Augustus Saint-Gaudens to related to mannequins. This new work, Idol , Memorial, Cornish, New Hampshire in 1993, cast for this LongHouse Reserve exhibition, is The Rome Prize in 1994, the Charlotte Dunwid - more sober as it bears traces of an effigy, die Prize for Sculpture from the National Acad - which may be the shadow of the idol, hero, or Idol , 2011-2012 emy Museum in 2007. superstar. cast bronze, stainless steel For over three decades, Shea has made a Judith Shea was recently awarded a 2012 77” x 36” x 36” study of the human form in many guises and Guggenheim Fellowship. courtesy of the artist

Daniel Wiener

aniel Wiener (1954) grew up in Los Ange - He lives and works in Boerum Hill, Brooklyn Dles County but has lived in or around NYC and Montauk, Long Island. for close to thirty years. A professional artist Imagination is both the source and the subject since 1977, Wiener’s first show was at the in Wiener’s work. While it seems obvious, many Stephen Wirtz gallery in San Francisco, held artists of the last 60 years have been focusing shortly after his graduation from University of on other starting points, he focuses on how hu - California at Berkeley. In 1982 he was awarded mans are compelled to imagine, involuntary a fellowship for an unusually long stay at impulse that conjure up images and impres - Yaddo, which inspired his exodus to the East sions. Both a blessing and a curse, this striv - Coast. Wiener’s work has been exhibited na - ing to be mindful of the unconsciousness tionally and internationally in both group and drives his work. Each invention in the studio, either accidental or purposeful, leads to an - one-person shows, notably at Bravin/Post Lee other and towards an unexpected outcomes. Gallery in New York and Acme Gallery in LA. Holly Solomon Gallery, Germans Van Eck Daniel Wiener labels himself an intuitive, im - Maiden Queen and Gallery in New York, and the Feigen Gallery in provisatory artist—a tinkerer. “I try one thing, Angel Mild, 2008 Chicago. Though he is known primarily for his then another thing, and another until some - 60” x 27”x 16” thing clicks, and then I keep making one mis - Mongrel (part 2), intense and arresting sculptures, Wiener also 2008 works on watercolors, 3-D animations, and take after another until a piece resolves into a 44” x 50” x 30” satisfying, dense dissonance. website design. Weiner is presently affiliated Mongrel (part 1), 2008 with Norte Maar Gallery in Bushwick and Lesley Daniel Wiener was also recently awarded a 48”x 41.5”x 20” Heller on the Lower East Side of New York City. 2012 Guggenheim Fellowship. Apoxie Sculpt

LongHouse Reserve Diversities of Sculpture was curated by our Springs neighbor, exemplifies living Bonnie Rychlak . Ms. Rychlak, herself an artist, is an independent with art in all its curator and a member of the LHR Art Committee. She is currently forms. Founded by a visiting assistant professor at the Pratt Institute and former Jack Lenor Larsen, its collections, curator at the Foundation and Garden Museum and gardens, sculpture as well an assistant to Noguchi for many years before his passing and programs in 1988. re flect world cultures and inspire a creative life. ACKNOWLEDGEMENTS: BOARD OF TRUSTEES Jack Lenor Larsen, founder I wish thank Dore Ashton who has supported me and nominated Dianne Benson, president Tina-Maria Birch, vice president me to the Arts Committee of the LongHouse Reserve. Through Louis Oliver Gropp, vice president Dore’s generosity, I have met a number of wonderful and generous Barbara Slifka, vice president Mark Levine, treasurer people, who have helped me with this exhibition. Bill Maynes has Nina Gillman, secretary been of special help as he has offered advice and introductions Mary Blake Abby Jane Brody to artists and others who have in turn assisted me with this exhi - Dr. Vincent Covello Charles Cowles bitions. One of these is Loretta Howard , who was very kind to Susan Gullia allow me to exhibit Ronald Bladen’s X Garden from his estate. Morton C. Katzenberg, emeritus Hilda Longinotti Then there are all the artists in the exhibition who have been so Alexandra Munroe cooperative and flexible with their time, including my dear husband, Peter H. Olsen Dennis Schrader Brian Gaman , who has encouraged me throughout this project. Lee H. Skolnick James Zajac Finally there are all the people from LongHouse Reserve, in - Edward Albee, honorary Dale Chihuly, honorary cluding Matko Tomicic and Wendy Van Deusen who were such a Bill T. Jones, honorary pleasure to work with and of course, the maestro of it all, Elizabeth Lear, ex officio Selena Rothwell, ex officio Jack Lenor Larsen , who is an inspiration and has been a patient ARTS COMMITTEE teacher. Charles Cowles, chair Edward Albee Dore Ashton In the end, however, it is the mentoring of Isamu Noguchi and the Douglas Baxter serendipity of my association with him that has brought me to John Danzer Richard Eagan these LongHouse Gardens and I dedicate my efforts in organizing Sandra Grotta this exhibition to him. Ronald Kuchta Carole Rosenberg Bonnie Rychlak designed by Pamela Herbst/Artist Graphic Design Phyllis Tuchman photos by Jenny Gorman

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