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      From Reviled to Revered, an Enormous Pigeon Perches Atop the High Line

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      “Dinosaur.” All photos by Timothy Schneck, courtesy of the High Line, shared with permission

      From Reviled to Revered, an Enormous Pigeon Perches Atop the High Line

      October 21, 2024

      ArtNature

      Grace Ebert

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      The latest sculpture to grace New York City’s High Line is a monumental tribute to an unlikely creature.

      Perched above 10th Avenue, a hyper-realistic pigeon stops to rest in the outdoor pavilion. The work of artist Iván Argote (previously), the hand-painted, aluminum bird is titled “Dinosaur” and looms 21 feet in the air, rivaling the enormous proportions of some of its ancestors.

      Argote is known for questioning the role of monuments and statues, particularly as they relate to colonial histories and power imbalances. For this work, he upends the human-animal relationship and notions of migration and value as the common street bird is vaulted into a glorified figure, peering down on pedestrians and drivers. The artist says in a statement:

      The name “Dinosaur” makes reference to the sculpture’s scale and to the pigeon’s ancestors who millions of years ago dominated the globe, as we humans do today… the name also serves as a reference to the dinosaur’s extinction. Like them, one day we won’t be around anymore, but perhaps a remnant of humanity will live on—as pigeons do—in the dark corners and gaps of future worlds.

      Despite their ubiquity throughout North American cities, pigeons aren’t native to the continent. The birds were initially brought from Europe as a barnyard animal and food source, but as they escaped into the wild, they grew into the scavenging flocks they are today. No longer domesticated and not quite wild, pigeons occupy a unique position.

      Argote’s work is a cheeky nod to the birds and suggests they’re more deserving of appreciation than some of the figures we’ve collectively honored in the past. Standing tall and confident atop a concrete plinth, the sculpture also serves as a reminder that “everyone is an immigrant,” a statement says. “Even the pigeon, a New York fixture, initially migrated here and made the city their home, like millions of other ‘native’ New Yorkers.”

      “Dinosaur” will be on view through spring. Find more from Argote on Instagram.

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    • 150 Shares159 Views

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      From Gossamer Objects to Monumental Architecture, Do Ho Suh Embraces the Process

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      Photo by Anthony Rathbun. All images courtesy of Moody Center for the Arts, shared with permission

      From Gossamer Objects to Monumental Architecture, Do Ho Suh Embraces the Process

      October 18, 2024

      Art

      Grace Ebert

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      For Do Ho Suh, the process of making work is as important as the outcome. Individual sculptures and installations are all part of a larger project that allows the South Korean artist to return to and iterate on earlier ideas, materials, and structures, each time pushing the work in a different direction.

      At Moody Center for the Arts, Suh puts his process on full display, recreating parts of his studio and charting the course for his sprawling practice in which he explores ideas of home, memory, and how we relate to physical space. Rubbermaids full of string and fabric, shelves lined with toy dinosaurs and action figures, and small maquettes of architectural sculptures offer insight into Suh’s influences and creative exercises, while completed projects reveal the final steps.

      Installation view of ‘Do Ho Suh: In Process.’ Photo by Anthony Rathbun

      Included in In Process are several fundamental works like “Inverted Monument,” which suspends an upside-down figure in a dense mesh of string. Also on view is a collection of fabric sculptures that recreate everyday objects like water faucets, doorknobs, and keyholes in gauzy, translucent fabric. Arranged by color, these delicate pieces draw attention to our attachments to and reliance on such mundane items.

      Part of exposing the inner workings of his process also involves what Suh refers to as “dismantling the myth of the artist as an individual genius.” Ongoing in various forms since 2016, “Artland” is a vibrant landscape that welcomes various groups—first Suh’s daughters, followed by communities across several continents—to add bits of malleable clay to the otherworldly terrain.

      Detail of “Artland”

      “For me, ‘Artland’ is an extension of so much of my practice,” the artist told Colossal, adding:

      When I had children, I had to let go of a lot of the control I was used to having in my life. Nothing’s wilder or freer than the child’s mind, and I’ve learnt so much from parenting. “Artland” grew from that small-scale family collaboration, but it’s been so validating involving visitors from Seoul to Brooklyn and Houston—the results are always more fantastical than expected and completely joyous.

      If you’re in Houston, see In Process through December 21. Otherwise, find more from the artist via Lehmann Maupin and Instagram.

      Installation view of ‘Do Ho Suh: In Process.’ Photo by Frank Hernandez

      Installation view of ‘Do Ho Suh: In Process.’ Photo by Anthony Rathbun

      Installation view of ‘Do Ho Suh: In Process.’ Photo by Anthony Rathbun

      “Artland.” Photo by Anthony Rathbun

      Installation view of ‘Do Ho Suh: In Process.’ Photo by Anthony Rathbun

      Photo by Anthony Rathbun

      Installation view of ‘Do Ho Suh: In Process.’ Photo by Frank Hernandez

      Installation view of ‘Do Ho Suh: In Process.’ Photo by Anthony Rathbun

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    • 175 Shares189 Views

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      Eight Pairs of Woven Shoes Fit for Cranes Roost in a Field of Pebbles

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      All photos by Ahina, courtesy of the artist and Real DMZ Project, shared with permission

      Eight Pairs of Woven Shoes Fit for Cranes Roost in a Field of Pebbles

      October 17, 2024

      ArtCraftNature

      Grace Ebert

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      If a white crane were to choose a pair of boots, would he gravitate toward knee-high lace-ups or balance his talons in yellow tabi stilettos?

      Young In Hong fashioned a collection of shoes with these long-legged birds in mind. Titled “White Cranes and Snowfall,” the playful sculptures are made from woven sedges and nested in a shallow field of pebbles, intertwining references to avian life and endangered craft traditions.

      Based in Bristol, Hong visited Korea in the winter of 2023 and witnessed a flock of rare cranes migrating to the demilitarized zone dividing the peninsula. “The once blood-stained DMZ has now become an ecological paradise for the cranes,” she shares. “When nature is left alone it can replenish its lives, and when we as humans observe other species more carefully, we can learn something from them that alters our way of being in the world.”

      Researchers estimate that in the seven decades since the zone was established, about “1,200 plant species, 83 fish varieties, 51 different mammals, and numerous birds, insects, and microorganisms” have thrived in the area, many of which were previously endangered or threatened.

      Observing the birds inspired the latest series in Hong’s growing collection of avian footwear. Each references jipsin, flat sandals woven from straw and largely worn by farmers and the working class throughout Korea. Affordable and widely available, the shoes would wear down quickly—a long day’s walk could burn through a pair—and people across the socioeconomic order knew how to make them. Straw is biodegradable, too, making jipsin naturally sustainable.

      To learn the craft practiced for generations, Hong began working with Choong Kyung Lee, a straw-weaving master from Asan in 2021. Together, they created numerous projects, including shoes fit for a baby elephant, giraffe, kangaroo, heron, gorilla, and bear. “For me, the collaboration with Lee was a journey to open up my eyes towards natural fibre weaving, a part of the history of Korea that has not been thoroughly written about,” Hong shared.

      For “White Cranes and Snowfall,” the artist pulled out specific personalities to inspire each design rather than thinking of the birds as anonymous entities. Displayed together, the sculptures become a stand-in for community and gathering—and perhaps a cheeky and yet urgent plea to imagine oneself in another’s shoes, even if those shoes belong to another species. The artist adds:

      For me, fictionalising the collective white cranes, and visualising them through humorously designed shoes, is to remind us of the fact that birds are like us, expressing tastes and preferences, also by having individually different characters and personalities.

      “White Cranes and Snowfall” is on view through November 7 at Secession in Vienna. Two of Hong’s textile works are also on view this month as part of the 7th Changwon Sculpture Biennale, and she’s currently preparing for two solo shows, one opening at Art Sonje Center in May and another at PKM Gallery in September. Peruse an archive of her works on her website and Instagram.

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    • 138 Shares169 Views

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      Under Lock and Key, Ant Hamlyn’s Synthetic Flowers Scramble for Space

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      “Toy Garden 1” (2024), hand-sewn and machined polyurethane coated fabrics, stuffing, sealed acrylic vitrine, and stainless steel, 20 x 20 x 20 centimeters. All images courtesy of Ant Hamlyn, shared with permission

      Under Lock and Key, Ant Hamlyn’s Synthetic Flowers Scramble for Space

      October 16, 2024

      Art

      Kate Mothes

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      Encased in transparent cubes and smushed behind panes of acrylic, Ant Hamlyn’s (previously) brilliant blooms and verdant stems are perpetually preserved. Polyurethane-coated fabrics, which he hand-sews and then stuffs, shape a cartoonish view of our predilection to try to harness and preserve things of beauty.

      Often focusing on bright botanicals and fungi, Hamlyn’s playful sculptures crush fabric flowers into cases secured with wing nuts or locked with soft padlocks. Captive blossoms, leaves, and terracotta pots appear just barely contained but with no means of escape.

      “Vase 4” (2024), hand-sewn and machined polyurethane coated fabrics, stuffing, laser cut acrylic, cnc-routed plywood, gloss paint, and fixings, 55 x 40 x 10 centimeters

      Two ongoing series, Vases and Toy Garden, examine the relationship between hard and soft, synthetic and organic, and fragility and play. Mashed up against their enclosures, the blooms appear incredibly uncomfortable while also exuding brightness and cheer.

      Explore more of the artist’s work on his website and Instagram.

      Selection from the series Toy Garden

      “Vase 2” (2024), hand-sewn and machined polyurethane coated fabrics, stuffing, laser cut acrylic, cnc-routed plywood, gloss paint, and fixings, 55 x 40 x 10 centimeters

      “Vase 6” (2024), hand-sewn and machined polyurethane coated fabrics, stuffing, laser cut acrylic, cnc-routed plywood, gloss paint, and fixings, 55 x 40 x 10 centimeters

      “Vase 3” (2024), hand-sewn and machined polyurethane coated fabrics, stuffing, laser cut acrylic, cnc routed plywood, gloss paint, and fixings, 55 x 40 x 10 centimeters

      “Toy Garden 5” (2024), hand-sewn and machined polyurethane coated fabrics, stuffing, sealed acrylic vitrine, and stainless steel, 20 x 20 x 20 centimeters

      Detail of “Vase 6”

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    • 125 Shares129 Views

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      Mulyana Transforms Plastic Yarn and Netting into Arresting Ocean Textures

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      Photo by Ign Raditya Bramantya. All images courtesy of Mulyana and Sapar Contemporary, shared with permission

      Mulyana Transforms Plastic Yarn and Netting into Arresting Ocean Textures

      October 16, 2024

      ArtClimatePhotography

      Kate Mothes

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      From thousands of plastic bags, nets, and hanks of yarn, Indonesian artist Mulyana (previously) illuminates the fragility of marine ecosystems.

      In his solo exhibition Remembering Our Collective Future at Sapar Contemporary, the artist has incorporated recyclable materials and distilled the palette to white, evoking a symbol of purity and drawing attention to the consequences of human impact on our oceans, such as coral bleaching.

      “Betty 21” (2024), plastic yarn, plastic net, and cable wire, 82 5/8 x 76 3/4 x 13 3/4 inches

      Curated by John Silvis, the show invites viewers to reflect on the effects of the climate crisis and the critical importance of environmental preservation. Photographs by Ign Raditya Bramantya highlight a living, breathing embodiment of coral as it traverses the city streets, bringing the ocean to daily life.

      Mulyana painstakingly twists, knots, and wraps plastic netting, cable wire, and plastic yarn into sculptures and wall hangings resembling coral and cartoonish sea creatures.

      Running concurrently at the Charles B. Wang Center at SUNY Stony Brook, an exhibition of the artist’s vibrant yarn works showcases costumes and characters inspired by marine life. Yarnscapes: Mulyana’s Environmental Tapestries presents a playful counterpoint to the monochrome pieces, nevertheless urging us to remember and evaluate our relationship to our oceans.

      Remembering Our Collective Future runs from October 22 to November 20 in New York City, coinciding with Yarnscapes in Stony Brook through December 10. Find more on the artist’s website and Instagram.

      Photo by Ign Raditya Bramantya

      Photo by Ign Raditya Bramantya

      Detail of “Betty 25” (2024), plastic yarn, plastic net, and cable wire, 74 3/4 x 78 3/4 x 13 3/4 inches

      “Betty 28” (2024), plastic yarn, plastic net, and cable wire, 86 5/8 x 86 5/8 x 13 3/4 inches

      Photo by Ign Raditya Bramantya

      Detail of “Betty 26” (2024), plastic yarn, plastic net, and cable wire, 65 x 51 1/8 x 13 3/4 inches

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    • 138 Shares199 Views

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      Genesis Belanger Coaxes the Uncanny from Vignettes of Consumption and Gluttony

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      “Self-awareness” (2024),
      veneered plywood, cork, stoneware, porcelain,
      patinaed brass, oil painted manicure, wooden vanity,
      28 × 61 × 20 inches. All photos by
      Pauline Shapiro, © Genesis Belanger, courtesy of the artist and
      Pace Gallery, shared with permission

      Genesis Belanger Coaxes the Uncanny from Vignettes of Consumption and Gluttony

      October 15, 2024

      Art

      Grace Ebert

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      A comb with perfectly manicured teeth, a tote overflowing with groceries and a bitten chocolate cookie, and a vacuum cleaner intent on eating a rug are a few of the peculiar details in Genesis Belanger’s latest exhibition.

      In the Right Conditions we are Indistinguishable, on view now Pace Gallery in London, presents fourteen vignettes of everyday life gone awry. Known for her disorienting, sometimes seductive sculptures, the artist continues working with her signature flatness and distinctive visual language, drawing on advertising techniques to critique consumerism plaguing modern life.

      “Cause and Effect” (2024), stoneware, powder coated steel, plywood, composite board, sunbrella fabric, silk and cashmere suiting, hardware, 41 × 35 × 53 inches

      Belanger’s earlier sculptures revel in pastel hues and the warm textures of ceramic, while this new body of work is more expansive. Bold, saturated colors appear throughout the individual vignettes, like on a cobalt vase and bright pink fruits resting in a squat dish. The artist also incorporates a wider array of materials into these sculptures, including the silk cashmere lining a vacuum cleaner bag and the veneered plywood that structures shelving.

      Arousing humor and absurdity from the most banal objects, Belanger invokes excessive desire, gendered expectations, and corporate malaise. “Self-Awareness,” for example, features a disjointed portrait of various objects spread across a wood table. The candlesticks with knotted wicks reference the feeling of working a 9-to-5 job, which she describes as “burnt down and tied in knots,” while the tableaux as a whole nods to self-curation and performance.

      “A Breeze Shimmers” (2024), patinaed brass, powder-coated aluminum, porcelain,hardware, 84 × 50 × 45 inches

      The artist typically shies away from depicting the human body in full form, instead preferring to represent it through fragmented parts or symbols like food and shapely objects. Fruit often takes on this role, especially in the pair of round, potted sculptures that give credence to natural growth.

      These works stand in stark contrast to the flattening effect of “16 Bit Eden,” which layers flowers and cherries atop a grid. Evoking the digital world, the pixelated backdrop questions the contemporary desire to ignore the objects and realities right in front of us.

      In the Right Conditions we are Indistinguishable is Belanger’s first U.K. exhibition and runs through November 9. See more of her work on Instagram.

      “Husband Material” (2024), porcelain, stoneware, plywood, raincoat fabric, rubber-coated linen18 1/4 × 21 × 16 5/8 inches

      “Family Portrait” (2024), veneered plywood, cork, porcelain, stoneware, 45 1/2 × 41 × 11 1/4 inches

      “Sentimental Attachment” (2024), stoneware with oil-painted manicure, 25 × 13 × 2 inches

      “Managed Expectations (you only deserve a tiny piece)” (2024), veneered plywood, powder-coated steel, cork, porcelain, 30 × 20 1/4 × 7 3/8 inches

      “It Always Comes Out in the Wash” (2024), stoneware, porcelain, patinaed brass, and fiberglass,29 × 6 × 32 inches

      Installation view of ‘Genesis Belanger: In the Right Conditions we are Indistinguishable,’ Pace Gallery, London (2024). Photo by Damian Griffiths

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    • 138 Shares199 Views

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      From Fire to Wind, JiSook Jung’s Ceramic Sculptures Animate the Elements

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      “Animal in the Wind” (2014), clay, 36.7 x 20.8 x 30 centimeters. All images courtesy of JiSook Jung, shared with permission

      From Fire to Wind, JiSook Jung’s Ceramic Sculptures Animate the Elements

      October 2, 2024

      Art

      Kate Mothes

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      JiSook Jung has long been drawn to clay for its inherent malleability. “Clay has the advantage of being able to quickly mold an image in my head into a visual form because it is soft and plastic,” the Seoul-based artist tells Colossal. “In that sense, I think clay is an intuitive and instinctive material.”

      Jung’s pensive, abstracted beings sprout limbs and minimal—if any—facial features. Each piece is vaguely animalistic and evocative of weather, the elements, and organic textures. A cloud walks on four legs, a green flame looks back at us with two beady eyes, or a wavy, blue being takes on the physical persona of wind.

      “Walking Daydream” (2024), clay and foam clay, 49 x 36 x 46.5 centimeters

      Many of Jung’s works tap into universal human experiences and concerns, like dreams, possibilities, and ego. “Potential,” for example, highlights a slightly bulbous, pink form that stands on four legs, as if preparing to metamorphose into something altogether new.

      Jung’s work has recently shifted from an emphasis on figures to more abstracted creatures, focusing on textures and color. After an experience that deeply impacted her personal life, she felt encouraged to explore new directions in her work. “I’m coming out of an old shell and welcoming a new world,” she says.

      Jung will open a solo exhibition on November 16 at Simple Object in Taipei. Find more on Instagram.

      “Mass of Ego” (2024), clay and synthetic resin, 14 x 19.3 x 34.5 centimeters

      “Burn Green” (2024), clay, 29.5 x 14 x 47.2 centimeters

      “Potential” (2019), clay, 17 x 12 x 32 centimeters

      “Free Animal” (2024), clay, 43.5 x 16.3 x 38 centimeters

      “Wind” (2024), clay, 18.5 x 14 x 54.5 centimeters

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    • 150 Shares109 Views

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      Frosted Works by Yvette Mayorga Divulge Issues That Are Anything but Saccharine

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      Installation view of ‘La Jaula de Oro’ at Museo de Arte de Zapopan. Photo by Lazarillo. All images courtesy of the artist and Museo de Arte de Zapopan, shared with permission

      Frosted Works by Yvette Mayorga Divulge Issues That Are Anything but Saccharine

      October 1, 2024

      Art Social Issues

      Kate Mothes

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      In a pink, glowing Rococo setting, Yvette Mayorga’s first solo exhibition in Mexico dives into nostalgia, teenage dreams, and how sometimes a sugary coating can conceal crucial truths.

      For La Jaula de Oro—The Golden Cage—at Museo de Arte de Zapopan, the Chicago-based artist (previously) has created four acrylic-piped paintings on canvas and a series of mixed-media sculptures. These include a 1974 Datsun coated in crochet, plush and plastic toys, acrylic nails, faux fur, rosaries, and other ephemera. Pop singer Selena’s song “Dreaming of You” wafts from the car stereo.

      “Bien chiqueada” (2024), acrylic nails, nail charms, toy snake, toy scorpion, clock, scorpion belt, collage, and acrylic piping on canvas, 91.44 x 121.92 centimeters

      At first glance, Mayorga’s compositions appear like delicate, frosted confections, glittering with nail charms and predominantly made in various shades of pink. But upon closer inspection, reminders of a slightly more unsettling reality begin to emerge, such as scorpions, clocks, or mirrors—nods to our relationship with time, others, and our mortality.

      The artist draws on the tradition of vanitas painting, a style popularized during the Dutch Golden Age, often in the form of still lifes brimming with visual cues that power and glory mean nothing when confronted with the inevitability of death.

      For Mayorga, the supple forms of piped bows, rosettes, and borders belie important messages centered around border control, immigrant labor, rampant capitalism, and pop culture.

      Akin to the way cookies or cakes are created to be literally consumed, the artist toys with the notion of fleetingness. “La princesa (Ride or Die),” for example, captures a sense of ephemerality and impermanence: “here today and gone tomorrow,” says curator Maya Renée Escárcega.

      Detail of “Bien chiqueada”

      The artist invites viewers into a seemingly carefree, saccharine space evocative of the opulence of the late 18th century—the era of Marie Antoinette and her famous—if mythical—quote: “Let them eat cake.” Considered the “Rococo Queen,” she is associated with luxury and frivolity, and she came to symbolize the excesses of the wealthy during a period when many people couldn’t afford bread, let alone the delicacies of cake.

      Mayorga’s primary medium is acrylic applied using a pastry bag. She references women workers—especially women of color—from whom colonial discourse stripped notions of femininity assigned to white women. She expands upon the framework of Rococo to analyze 21st-century issues, simultaneously serving us a reminder of the sacrifices and toil required to produce what capitalist society consumes.

      La Jaula de Oro and continues in Zapopan through January 5. Find more on Mayorga’s website and Instagram.

      Detail of “Banquete (Banquet)” (2024), hi-temperature ceramics, resin candle holders, bronze figures, and candles, dimensions variable. Photo by Lazarillo

      Installation view of La Jaula de Oro

      “Capitalist Clown” (2024), collage, acrylic marker, pastel, toy scorpion, and acrylic piping on canvas, 91. 44 x 121.92 centimeters

      Detail of “La princesa (Ride or Die)” (2024), crochet, plush toys, plastic toys, acrylic nails, rosaries, faux fur, belt buckles, vinyl stickers, ceramic tchotchkes, clock, toy cell phone, found license plate, trophy, wood, 161 acrylic roses, and acrylic piping on a 1974 Nissan Datsun, 4 x 1.6 meters. Photo by Lazarillo

      Detail of “La princesa (Ride or Die).” Photo by Lazarillo

      “Made in Mexico (Fecit Mexici)” (2024), mirror, hand mirror, acrylic nails, nail charms, clock, toy scorpion, collage, and acrylic piping on canvas, 91.44 x 121.92 centimeters

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