Within the realm of artistic genres, the area of sculpture has perhaps become the most elastic in definition. Installation is sculpture. Performance is sculpture. Assemblage is sculpture. For many the word still evokes the traditional figurative carvings of Michelangelo or the rounded bronze castings of Henry Moore, but ultimately the term is endlessly pliable. For New York-based artist Arlene Shechet, sculpture is about action as well as form, about painterly experimentation as well as material. Her abstract, textural work is on view now at the Institute of Contemporary Art in a comprehensive retrospective that has introduced me to her art for the first time.
Spread across three galleries, the exhibit’s aesthetic reflects Shechet’s own inclination for playful display tactics. Her more recent abstract sculptures are typically mounted on pedestals of her own making, rendered in wood or brick or plexiglass, and the show’s organizers extended this idea to the entire layout. The first room features a large multi-leveled shelf unit (made by the artist) at its center, with her early forays into Buddhist figures and pottery clustered throughout. The walls are lined with loose architectural drawings of stupas, inspired by her visit to Buddhist monuments in Indonesia. Western artists are drawn to Buddhism and Buddhist imagery for various reasons, sometimes appropriative or ethnocentric; Shechet’s primary interest is in the way Buddhist sculpture was used as a language, as well a way to communicate the concept of transience. The loss of a close friend prompted her to pay more attention to life’s preciousness, and the process of working with plaster allowed her to “maintain a consistent state of awareness in the studio” (Arlene Shechet, 13). The works here are quite varied, combining blue and white pottery, contemplative seated Buddhas, and goopy abstracted messes. Their arrangement forces the viewer to always be moving around the room, taking in first the whole and then, gradually, individual pieces.
The second gallery moves into the 21st century, with a deceptively simple sculptural installation titled “Building,” from 2002. A commissioned work for the Henry Art Gallery in Seattle, it was put together with students at the University of Washington, who threw different pottery shapes and made molds based on Shechet’s drawings. She stained the molds with black glazes, so that the resulting casts came out with dark exteriors that became progressively lighter as the molds were re-used. The final piece features a large grouping of these pottery forms, cut and stacked and placed at eye-level, resembling a miniature city that literalizes curator Jenelle Porter’s description of Shechet’s work as “equally sculpture and architecture” (Arlene Shechet, 11). The ashen coloring subtly hints to the artist’s experiences as a New Yorker after the 9/11 attacks, evoking imagery of fallen buildings, burnt-out ruins, and urban debris. Alongside Building is a small series of glass sculptures titled In the Balance. As the only offering in glass on view, they stick out as an elegant side-note, with shapes that recall the smaller pottery pieces in Building and a theme related to breath that carries over into future works. To me the appealing aspects of all the works in this section is how they reference traditional craft shapes, but remain completely non-functional.
Arlene Shechet: Not to Mention, 2013 (left – via CFile) and No Matter What, 2013 (right).
The meat of the exhibition is in the third gallery, a long stretch of freestanding sculpture that highlights Shechet’s interest in texture, form, and color. Several pieces are inspired by lungs and breath, relating to her father’s death from lung cancer, their lumpy grey shapes inflating and deflating, their random circular orifices painted blood orange. Others are comical, with droopy appendages and colorful splotches. Still others are architectural, or even monumental, with jutting windows and dark loops, leaning every which way like a surreal Tower of Pisa. Most are primarily made of ceramic, and all are placed atop stands of varying material and size, some matching and some contrasting their passengers, some including kiln bricks as a reference to the act of firing clay. The work is remarkable in its totally freeform look, so far from the seemingly meticulously-planned aspect of most carved and molded sculpture. In her process, Shechet drips and stacks, presses and pulls, attacks and retreats, leaving traces of her movements like the strokes of an action painting. Though abstract in both form and title, the sculptures evoke different emotional responses in each viewer, intimate in their tactility, strange and funny and unavoidable in their presence.
In a partially-enclosed wing off the main gallery are several large-scale wall paintings that tie in closely with the freestanding pieces nearby. Their blotchy application of color and thick, three-dimensional shapes reflect the forms found in her sculpture. In fact, the compositions are created by applying molds of different sections of the sculptures to create textured paper, spreading out and flattening her favorite visual motifs so they can be viewed in a new element. The process is detailed in this short Art 21 video, which also offers a glimpse of the pieces on view at the ICA.
Arlene Shechet: Dancing Girl with Two Right Feet, 2012. via Arlene Shechet
Arlene Shechet: Split Block, 2013. via Art 21
The final space, a small enclosed room with black walls, is the most indicative of Shechet’s interest in display, functionally presenting the artist as curator. Here, works from her residency at the celebrated Meissen porcelain studio in Germany are arranged like so many knick-knacks on shelves of varying height and size. She mixes her own uncanny experiments in with actual historical ceramics, highlighting the kind of aesthetic that was treasured in the 18th century–most notably orientalist tropes and delicate courtly figurines. Shechet’s contributions are generally hybrid creations that melt or cut or combine these familiar elements into something new and strange. Disembodied legs pop out of rosebuds, abstract shapes crop up on porcelain plates, vases soften and tip over erratically. It’s an odd, funny little room that invites close looking (though, sadly, no photos) and adds an unexpected historicity to the exhibition as a whole, relating Shechet’s contemporary use of ceramic to its decorative and East Asian origins.
In conversation with fellow artist Janine Antoni, Shechet says, “One of the reasons I’ve liked working with marginalized materials is that they have a kind of slackness. They give me more opportunity to say things in an unexpected way, or to point out the full range of life rather than a narrower range” (Arlene Shechet, 150). Though her approach to “pointing out the full range of life” is nonspecific, I do feel these works represent a whole person, a whole volume of emotions. They reveal the flaws, the humor, the tragedy, the playfulness, the bizarre, and beauty everyone experiences, though they may ultimately best represent the artist herself.
“Arlene Shechet.” Art21. http://www.art21.org/artists/arlene-shechet
Jenelle Porter, et al. Arlene Shechet. Institute of Contemporary Art/Boston and Prestel, 2015.by