In Practice 2009
SculptureCenter, Long Island City
September 13 - November 30, 2009

Jason Kraus, Meredith Nickie, Marlo Pascual, Xaviera Simmons, Marianne Vitale, Erik Wysocan

These works were commissioned through SculptureCenter's In Practice project series, which supports the creation and presentation of innovative work by emerging artists and reflects diverse approaches to contemporary sculpture.

Jason Kraus, Making a Mold, 2009

Making a Mold walls off a twenty-five foot section of the lower level galleries' central corridor and creates two views onto the eponymous action underway. Approached from one end, the viewer encounters an industrial pump apparently filling the space with silicone while the opposite vantage reveals a monitor with a closed-circuit view inside. Playing with notions of the readymade and the fabricated, the realistic and the absurd, Kraus transforms the museum space itself into a model that may or may not exist.

Marlo Pascual, Untitled, 2009
Pascual's sculptures bring together vintage portrait photography and domestic objects with dramatic lighting and sleek armatures to create a series of discrete tableaus wherein actors and actresses from the anonymous past are recast into roles that hover between the glamorous and melancholy.

Meredith Nickie, Reversed Fortune in the Failure of the Visible, 2009
Enlisting the fanciful ornamentation of chinoiserie and baroque design, Meredith Nickie's installation juxtaposes Minimalist tropes-including a direct reference to Sol LeWitt's cube forms, mirrored pedestals, and industrial finishes-with a select array of fetish objects and interior design motifs that recall the history of colonial oppression as well as Nickie's own self-fashioned narrative of postcolonial recovery.

Xaviera Simmons, 3 (Cardboard, Masonite, Twine, Paper, Paint), 2009
Simmons captures a slowly disappearing urban landscape from three different entry points. Having gathered and broken down over a thousand cardboard boxes from city streets, the artist's gleaned materials construct a monochrome wall that stands opposite three panels of collaged photographic images taken while engaged with people and places along her route. Documenting shop signs, buildings, and street scenes, her installation is a meditation through image and text on increasingly obsolescent typographies, sayings, and locales.

Marianne Vitale, Landswab Over Berberis, 2009
Vitale's sculptural practice evokes an idea of the natural world remade from what has been discarded and abandoned, often resulting in make-shift structures and hybrid figurative creatures that can appear both fragile and menacing. For SculptureCenter's courtyard, Vitale has constructed a large-scale sculpture of steel, plaster and fiberglass coated with a copper-color finish and perched atop a sprawling garden of plants and wild grasses. This newest work is part of an ongoing interest in the vernacular, mythological narratives, and the grotesque.

Erik Wysocan, (A thing of only one age) Res unius ætatis, 2009
Samuel Madden's 1733 publication Memoirs of the Twentieth Century-one of the first science-fiction novels and set to take place in the year 1998-serves as the impetus for Erik Wysocan's installation. Wysocan also draws from the letters of Ahcene Zemiri, the so-called "Millenium Bomber" along with Madden's own correspondence with Lord Chesterfield on the nature of time travel and 18th century law. Employing different modes for presenting artifacts and specimens-from lightboxes to a table vitrine and retail display case-Wysocan reconsiders the content of the form in placing the lacunae of history on display.

Copryright Fionn Meade unless otherwise stated