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TABLE OF CONTENTS

A Daydream. In Ernesto Neto’s Globiobabel Nudelioname Landmoonaia

  • Author: Philip Ursprung
  • Artist: Ernesto Neto
  • Section: Collaboration

Leviathan Thot: A Politics of the Plumb

  • Author: Paulo Herkenhoff
  • Artist: Ernesto Neto
  • Section: Collaboration

New Places of Contemplation

  • Author: Yuko Hasegawa
  • Artist: Ernesto Neto
  • Section: Collaboration

In Abeyance, or: Views and Visual Rays

  • Author: Anne von der Heiden
  • Artist: Olaf Nicolai
  • Section: Collaboration

Inside the Outside

  • Author: Vincent Pécoil
  • Artist: Olaf Nicolai
  • Section: Collaboration

Re-Perceptions

  • Author: Charles Esche
  • Artist: Olaf Nicolai
  • Section: Collaboration

Mad and Ugly

  • Author: Neal Brown
  • Artist: Rebecca Warren
  • Section: Collaboration

Pressure Zone

  • Author: Martin Herbert
  • Artist: Rebecca Warren
  • Section: Collaboration

Trying it on I Suppose

  • Author: Catherine Lampert
  • Artist: Rebecca Warren
  • Section: Collaboration

Vito Acconci. Conceptual Poetry: Old and New

  • Author: Marjorie Perloff
  • Artist: Vito Acconci
  • Section: Miscellaneous / Varia

Cindy’s Original Scene. Doll Clothes. Sherman’s Early Films

  • Author: Gabriele Schor
  • Artist: Cindy Sherman
  • Section: Miscellaneous / Varia

Speech Bubbles. Notes on Andro Wekua

  • Author: Tirdad Zolghadr
  • Artist: Andro Wekua
  • Section: Miscellaneous / Varia

Erwin Wurm. Beginning with a Single Step

  • Author: Abraham Orden
  • Artist: Erwin Wurm
  • Section: Miscellaneous / Varia

Growing Pains

  • Author: Kate Fowle
  • Section: Cumulus

Notes from the Wall

  • Author: Simon C. Grant
  • Section: Cumulus

$ 32.00

Introduction

What a difference between the “good old formalism” of the past and the kaleidoscopic sweep of today’s treatment of form! When Ernesto Neto, Olaf Nicolai, and Rebecca Warren tackle the challenge of shaping and forming worlds of their own making, they know full well that their visual feats of alchemy and engineering will unlock an unruly array of semantic potential that changes with every work.

The personal universe that each inhabits could not be more different, and yet all three artists draw their energy and inspiration from the same vast pool of collectively conditioned being, perception, and thinking.

Ernesto Neto’s works rest on the paradox between a thoroughly self-assured visual lightness and a rampant, luxuriating presence, which provokes both distress and enchantment. The shells of his sculptural inventions are often shipped across oceans in deceptively small packages, developing the full thrust of their potential only upon arrival. Neto’s most spectacular work to date, LEVIATHAN THOT (2006), has taken up residence in a place fraught with history: the overwhelming vault of the Panthéon in Paris.

In her “inquisitive inhabiting of artistic practices of the past” (Martin Herbert), Rebecca Warren atomizes matter, such that a particle of dust, a woolen pompom and the venerable metal, bronze, do not stand as opposites but rather as elements in the psychodynamically charged echo chamber of form. Her work is alight with memory-triggering flashes of art historical allusion that demand a radical “re-perception,” a prolonged second look, which is also of the essence in the study of Olaf Nicolai’s artistic investigations and projects, as Charles Esche observes. Anne von der Heiden describes the imaginary work of art that results. It is the virtual “arrangement of visual rays” in Nicolai’s contribution to the Venice Biennale (2005), where the artist called upon the public to keep an eye out for falling stars, for ‘The Tears of St. Lawrence.’

In the Insert, Anne Collier presents a kind of pop-cultural “Homage to the Square” by enlisting the services of the now defunct LP cover and its role as harbinger of happiness in stimulating images, moods, and attitudes. The artist’s cool dissection of this resurrected romanticism owes its existence exclusively to the “ennobling” faculty of photography that can rely on the unfailing reflexes of viewers schooled in formalism.