Wednesday, April 12, 2017

David Versluis | new work: Public Art Edina, Minnesota—Sculpture Exhibit 2017–18


This piece, titled “Rungs to Rings” was selected by the Edina Art Center, city of Edina (Minneapolis metro) for the 2017–18 outdoor public sculpture exhibition. The eight foot high (325 lbs), welded, all-steel and powder-coated sculpture will be rented for a year starting in May. The piece will be placed on a twenty-inches high pedestal and elevated to a total height of almost ten feet.

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Tuesday, April 4, 2017

Geometric Complexions exhibition at Zhou B Art Center, Chicago


Geometric Complexions. Curated by Sergio Gomez
April 28 – June 9, 2017
Zhou B Art Center, 1029 W 35th St., Chicago

David Versluis will be one of thirteen artists participating in the upcoming exhibition Geometric Complexions at the Zhou B Art Center. This exhibit features the wide variety of visual expressions within this artistic tradition. 

The exhibition prospectus states, “The exhibition explores the visual language of geometric abstraction in the context of contemporary art. Traced as far back as 1908 with the birth of cubism, geometric abstraction continues to evolve in studios of many contemporary artists today.”

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Sunday, April 2, 2017

New work—David Versluis: Sioux County Oratorio Poster for 2017


David Versluis, designer and photographer
12x18 inches
2017

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Sunday, March 12, 2017

Abstract Experiments: Latin American Art on Paper after 1950—Art Institute of Chicago


Hélio Oiticica. GFR 022, 1955. Collection of Donna and Howard Stone.
All images courtesy of the Art Institute of Chicago

The following is from the AIC gallery didactics:
“The Neoconcrete movement emerged in Rio de Janeiro as a reaction to the perceived rigidity of the Brazilian Concrete art movement as it was practiced in São Paulo. The Neoconcretists, among them Lygia Clark, Lygia Pape, and Hélio Oiticica rejected the commodification of the art object and embraced a poetic, participatory and multi-sensory experience. In their two-dimensional work the artists of the Neoconcrete movement replaced the strict geometry of concrete art with softened more organic forms. Moving into the three-dimensional realm, they turned spectators into participants in order to challenge to traditional relationship of the viewer to the work of art.” 


Hélio Oiticica. Metaesquema, 1958–59. Collection of Diane and Bruce Halle. In 1959 the two-dimensional geometric forms of Oiticica’s early paintings on cardboard began to transition into his Bilateral and Spatial Reliefs, which were suspended from the ceiling.


Manuel Espinoza. Celestial Theme, from 21 Estampadores de Colombia, Mexico y Venuzuela, 1972. Gift of the Container Corporation of America. This piece exemplifies the genre of Venezuelan kineticism.

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Saturday, March 11, 2017

Hélio Oiticica: a retrospective exhibition at the Art Institute of Chicago—


Hélio Oiticica, (Brazilian, 1937–1980)
NC1 Small Nucleus (foreground), (NC1 Núcleo pequeno 1)
1960
Oil on wood, mirror
photograph by versluis 2017

Hélio Oiticica: To Organize Delirium is on display at the AIC, Regenstein Hall, through May 7, 2017. In the late 1950s, Oiticica’s painterly and suspended constructions that are pulled from the gallery wall to interact/engage with the space of the viewer. The gallery label for the piece pictured above states:

Like the Bilaterals and Spatial Reliefs, Oiticica’s Nuclei are made up of forms suspended from the ceiling. Clustered together, so that viewers have to walk around to pieces to fully experience them—they represent an early exploration of architectural space for the artist. Oiticica’s aspiration to integrate the viewer into the work itself is made literal here through he reflection provided by the mirror. Oiticica’s goal was to give color an independent physical presence apart form the form on which it appeared.

From the collection of César and Claudio Oiticica, Rio de Janeiro

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Friday, March 10, 2017

Lygia Clark: “Bicho—monumento a todas as situações”—the inherent creatureliness of all things



Lygia Clark (Brazilian, 1920-1988)
Bicho—Monument to All Situations (Bicho—monumento a todas as situações), 1960
Aluminum
65.4 x 53.5 x 40.6 cm (25 3/4 x 21 x 16 in.)
From the collection of the Art Institute of Chicago
photographs by versluis 2017

The following information is from the AIC label:

Clark began producing bichos, Portuguese for “critters,” in 1959. The articulated aluminum sculptures are small enough to be held. Clark designed each piece to be manipulated by the viewer. The artist understood the bichos as living creatures able to move and occupy space. The variability inherent in the works in this series creates a unique experience by stimulating both physical and visual sensations, activating the object and the viewer in the process. Through their titles and shapes, certain of the bichos suggest a wider, even utopian context (as well as content), and this work bears a strongly architectural sensibility appearing in a number of its configurations like a dynamic skyscraper or winged creature.

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Silke Otto-Knapp: painting the illusion of space, but draws you back to the flatness of the canvas


Silke Otto-Knapp
Stage (after Kurt Schwitters), 2017
Watercolor on canvas
Five free standing panels, 68 x 47 inches each
Front and back photographs by versluis 2017

The Graham Foundation (Chicago) is currently showing Spaces without drama or surface is an illusion, but so is depth, which examines, as the curators state: “... the recent proliferation of collage in architectural representation in relationship to scenography and theatrical set design.”

The exhibition curated by Wonne Ickx and Ruth Estévez: LIGA, Space for Architecture, “Spaces without drama or surface is an illusion, but so is depth”. The exhibition runs to  July 01, 2017.

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