SculptureCenterbetween fire and image-making. The copper screen abstracts and layers the image; the...

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SculptureCenter

Transcript of SculptureCenterbetween fire and image-making. The copper screen abstracts and layers the image; the...

Page 1: SculptureCenterbetween fire and image-making. The copper screen abstracts and layers the image; the flames dancing on its semi-reflective surface are a reminder of the conductive qualities

SculptureCenter

Page 2: SculptureCenterbetween fire and image-making. The copper screen abstracts and layers the image; the flames dancing on its semi-reflective surface are a reminder of the conductive qualities

Kelly Akashi: Long Exposure is supported by Brenda Potter, Mary Hoeveler, Mihail Lari and Scott Murray, and Anthony Grant.

SculptureCenter’s major exhibition and operating support is generously provided by grants from the Lambent Foundation Fund of Tides Foundation; the New York City Department of Cultural Affairs, in partnership with the City Council; the Kraus Family Foundation; the New York State Council on the Arts with the support of Governor Cuomo and the New York State Legislature; the A. Woodner Fund; Jeanne Donovan Fisher; the Seth Sprague Educational and Charitable Foundation; and contributions from our Board of Trustees and Director’s Circle. Additional funding is provided by the Milton and Sally Avery Arts Foundation and contributions from many generous individuals.

All rights reserved, including rights of reproduction in whole or in part in any form.

© SculptureCenter and the authors

Published by SculptureCenter 44-19 Purves Street Long Island City, NY 11101 t: 718.361.1750 [email protected] www.sculpture-center.org

ISBN: 978-0-692-94233-8

Design: Claudia Brandenburg, Language Arts Copy Editor: Lucy Flint Printer: RMI Printing, New York

All photos by Kyle Knodell, 2017 unless otherwise noted

Kelly Akashi: Long ExposureSeptember 18 – December 18, 2017

Curated by Ruba Katrib

SculptureCenter

Cover: Studio documentation, 2017. Courtesy the artist

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Thereareseveralwaystorevealtheinteriorofsomething.Thethingcanbecutopen.Itcanbebrokenapart.Itcanbeseenthroughimagingtechnologies,suchasX-rayandultrasound.Amicroscopecandiscernacertainlevelofactivityjustbelowthesurface.ForLosAngeles–basedartistKellyAkashi,thislineofinquiryleadstoaveryprecisepracticeofrevealingtheinteriorofherworkswithoutevercarvingthemopen.Herdissectionworkisneversocrass.Viewersmaynotevenrealizethattheyhavebeengivenentryintotheinternaldynamicsofherworks—eventhoughthisadmissionis,inasense,thesubjectofherwork.

WorkinginSculptureCenter’slower-levelgalleries,Akashihascomposedanexhibitionthatpullsouttheformalqualitiesofthespace,whiletranscendingitsconfines.Inresponsetothevariousarchesthatpunctuatethearchitecture,Akashihascreatedcircularcherrywoodandbrassstructuresthatcontainarrangementsofglassandwaxobjects,amongotherelements,andbecomecontainersopentoair,light,color,andthought.Akashihasfilledsomeoftheglassformswithwater,glassballs,orcopperfoil,butfortherest,theyreflectthespacewithinandoutsidethesculpture.Combustion,transparency,andtransmutationarepervasivethemesinLong Exposure.HoweverdisparateAkashi’smediums––glass,wax(intheformofcandles),photography,bronze,film,andtextiles(intheformofropes)––theyareallintimatelyinterrelated.

Fire,anditscapacityforlightandcreativedestruction,isakeyelement.Inperhapstheclearestexample,Akashimakeswaxcandlesthatareperiodicallylit,theheatoftheflamemeltingthewaxtocreateevolvingforms.InaworklikeThe Chandlery,2017,thecandlesstandaloneonexistingshelvingintheexhibitionspacetoeffecttransformationswithinthearchitecture.Anotherwork,Carbon Copy,2017,featuresasuspendedcastbronzebranchwrappedwithtwistedgreencandlesthathighlightthetwigsbutalsoresemblesomekindofgrowthorparasite.Thecandlesareliteveryonceinawhile,whichfurtherfusesthemwiththebronzeformanddripswaxontothefloorbelowtocreateanothercomponent.ThewaxdripiscarriedthroughintheoutdoorworkBig Drip,2016–17,abronzecastofalarge-scaleaccumulationofmeltedwax.ThereversalwithinAkashi’swork––bronzeisusedtocastwaxinsteadofwaxbeingusedtocastbronze––equalizestherelationshipbetweenthetwomateri-als.Whileoftendivorcedoutsidethefoundry,Akashiplayfullyreuniteswaxandbronzeinaprocessthatrevealstheirinherentqualitiesandrequirements.

TheflowofheatandfirecontinuesintheexhibitionthroughworkssuchasShadow Film,2017,whichcon-sistsofa16mmfilmandaperforatedcopperfoilscreen.Thefilmswitchesbetweenblack-and-whiteandcolorfootageofflamesandawiderviewofafire.Whenprojected,theimageryissuperimposedonthehangingcopperscreenandalsobehinditonthewallasitpassesthroughthecutoutshapes.TheflickeroftheprojectedlightenhancestheflameimageryAkashihascaptured,creatingamaterialdemonstrationoftheinherentconnectionsbetweenfireandimage-making.Thecopperscreenabstractsandlayerstheimage;theflamesdancingonitssemi-reflectivesurfaceareareminderoftheconductivequalitiesofthematerialitself.CopperfoilreappearswithintheexhibitioninthesculpturesLocal WeedandAn Archive from Two Perspectives,both2017,bringingitsthermalandelectricalfunctionstothematerialnarrativeoftheworks.

Kelly Akashi – In the middleRuba Katrib

ThetransitionofenergyoccursaswellinthesculptureLong Exposure,2017,whichsharesthetitleoftheexhibition.Installedwithinoneoftheentrancewaysnearaskylight,theworkiscomprisedofabronzetreebranchcoveredinsolarpanelsandwires,fromwhichaglassorbissuspended.Hiddeninsidetheorbisalightsourcepoweredbythesolarpanels.Akashihasharnessedanothersourceoffire,energyfromthesun,andtransformeditintoartificiallight.ThetitleLong Exposureevokesananaloguephotographicprocessinwhichthecamerashutterisleftopentogatherallavailablelightonthefilm.Thistechniqueisconventionallyusedwhentheambientlightislow.Ofcourse,leavingtheshutteropenmeansthatanythingmovingwithintheframewillbeoutoffocusorwillleaveatrailofghostlyimpressionsinitspath.TherelateddurationalaspectsofAkashi’spieceinvolvethelengthoftimenecessaryforlighttotravelfromthesunandforthesolarpanelstogenerateenoughenergytoactivatethelightsource.Whenthereisn’tenoughsunlighttopowerthepanels,thelightdims,signalingthework’sresponsive-nesstotheworldoutsidetheexhibitionspace.

Lightisalsoessentialtothephotogramsonview.Tomakethem,Akashiplacedherglasssculpturalformsonlight-sensitivephotographicpaperandexposedthemtolight.Thesecameralessimagesareproducedsolelybylightpassingthroughtheglassandencounteringobstructionsintheswirlsofcolor,texture,andviscosityembeddedwithinit.Byconnectingglass-makingwithimage-recording,Akashiconceptuallylinkssculpturalandphotographicprocesses.Allofherworks,insomeway,recordandilluminatetheirownmaking,andrestoretheinherentrelation-shipsbetweenobjectsandmaterialsthathavebeenunlinkedastheycirculateintheworld.Inthisinstance,insteadofusingglassasthelensofacameraorenlarger,Akashimakesitthesubjectoftheimage.Shiningalightthroughtheglasstocaptureitsform,shedocumentsaplacesomewherebetweentheexternalrealminwhichtheobjectexistsandtheinnersphereofitsmaterialcapacities.Whileleavingtheglassintact,Akashimetaphoricallypeelsitaparttoshowitsinnerlayers,manifestedinthecomplexplayofnuancedshadesoflightanddark.

Akashi’sunpeelingofhermaterialsprovokesquestionsintohowandwhyobjectscometobeandhowtheyareunderstoodthrougheverydayuse.Herglassformsappearaspartofherphotographicworkandarealsointegratedintohersculpturalarrangements.Theformsthemselvesareoftenmid-sizedtolarge;somearebulbous,othersarelongandstretched,somearecolorful,andothersareclear.Mostoftheglassobjectsarebuiltupfromsmallerbits,orarecomprisedofasinglepartworkedtoitslastshapebeforereachingabreakingpoint.ThefragilityoftheglassformsisputinadirectrelationshipwiththehardnessofthesurfacesthatAkashisetsthemon.InherworkDouble Penetration,2017,aglassorbissuspendedwithinatieredstructure,floatingbetweentwocircularcherrywoodplatforms.Lengthsofropeandcableenterthetransparentyellowglobethroughvariousopenings,restinginsideitandfallingfromittocoilonthelowertier.Theorbisvisuallyconnectedtothistablelikestructure,butithangsaboveitratherthanrestsuponit.Thebehaviorandinteractionofmassandgravityisputondisplaywithinahighlyspecificstructure.InthesculptureAn Archive from Two Perspectives,2017,Akashibisectsanovalcherrywoodtable.Eachsemi-circulartable,positionedagainstawalloftheexhibitionspace,holdsglassforms,aframedortho-lithofilmprintphotogramofaleaf,andrope.OnehornlikeglassformhasabronzecastofAkashi’sfingerstickingoutofitsopening.Akashiregularlyincorporatescastsofherhandsandfingers,literallyinsertingtheartist’shandintothework.Throughthisgestureshepointstoherinvestigationintoprocessandtotheindexicalconnectionssheismaking.Thefingersdirectviewersintothework,askingthemtoreadhermateri-als,andtolookmoreclosely.

ThepresenceofAkashi’sownfingercastinbronzeunderlinestheinterdependentconnectionsbetweenthematerialssheusesandtheformstheytake.Herworksrevelinmicrointeractions,spinningoutthroughthevariousdetailsandassociationsshecanactualizewithinatangibleform.Akashislowsdownandspeedsuptheprocessesofturningamaterialoraneffectintoathing,creatingagrowinglexiconofinherentandinternalmaterialqualities.

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Feel Me, 2017, details. Installation view.

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Finger Figure, 2017, detail. Long Exposure, 2017, installation view.

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Double Penetration, 2017, detail.Installation view.

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Image of Two Things, 2017, installation view. The Chandlery, 2017, installation view.

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Installation view. Left: Candle Candle Stand, 2017, installation view. Right: Be Me (Flame), 2017, installation view.

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Shell Shelf, 2017, installation view. Carbon Copy, 2017, installation view.

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Carbon Copy, 2017, detail.

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An Archive from Two Perspectives, 2017, installation view.

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An Archive from Two Perspectives, 2017, detail.

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Shadow Film, 2017, installation view.

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Installation view.Image of Three Things, 2017, installation view.

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Table of Contents, 2017, installation view. Table of Contents, 2017, detail.

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Installation view. Local Weed, 2017, installation view.

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An Archive from Two Perspectives, 2017 Cherry wood, brass, glass, two walnut framed ortho litho film prints, bronze, rope, copper foil Dimensions variable

Be Me (Flame), 2017Bronze, glass Dimensions variable

Be Me (Heat), 2017Bronze, glass 2.25 x 8.5 x 5 inches (5.7 x 21.6 x 12.7 cm)

Big Drip, 2016-17Bronze 28 x 58 x 45 inches (71.1 x 147.32 x 114.3 cm)

Bubble Basin, 2017Glass, wax, cotton wick, water Dimensions variable

Candle Candle Stand, 2017Wax, cotton wick, bronze Dimensions variable

Carbon Copy, 2017Bronze, wax, cotton wick, bronze wire Dimensions variable

Cellular Impressions, 2017Ortho litho film, walnut frame 10.5 x 8.5 x 1.5 inches (26.7 x 21.6 x 3.8 cm)

Double Penetration, 2017Cherry wood, brass, glass, bronze wire, rope 79 x 39 inches (diameter) (200.7 x 99.1 cm)

Feel Me, 2017Bronze, rope, concrete Dimensions variable

Finger Figure, 2017Bronze, bronze wire rope Dimensions variable

Image of a Thing, 2017Color photogram, walnut frame 24.25 x 20.25 x 1.5 inches (61.6 x 51.4 x 3.8 cm)

Image of a Thing, 2017Color photogram, walnut frame 24.25 x 20.25 x 1.5 inches (61.6 x 51.4 x 3.8 cm)

Image of a Thing, 2017Color photogram, walnut frame 24.25 x 20.25 x 1.5 inches (61.6 x 51.4 x 3.8 cm)

Image of Three Things, 2017Color photogram, walnut frame 24.25 x 20.25 x 1.5 inches (61.6 x 51.4 x 3.8 cm)

Image of Two Things, 2017Silver gelatin photogram, walnut frame 19.25 x 15.25 x 1.5 inches (48.9 x 38.7 x 3.8 cm)

Image of Two Things, 2017Silver gelatin photogram, walnut frame 19.25 x 15.25 x 1.5 inches (48.9 x 38.7 x 3.8 cm)

Image of Two Things, 2017Silver gelatin photogram, walnut frame 19.25 x 15.25 x 1.5 inches (48.9 x 38.7 x 3.8 cm)

Life Forms, 2017Bronze 3.25 x 9 x 7.5 inches (8.25 x 22.9 x 19 cm)

Local Weed, 2017Glass, copper wire, copper foil 11 x 8 x 8 inches (27.9 x 20.3 x 20.3 cm)

Long Exposure, 2017Bronze, glass, solar panels, light, rope Dimensions variable

Shadow Film, 201716mm film, projector, copper foil, copper rod, whipping twine, brass clips Dimensions variable

Shell Shelf, 2017Bronze, glass 7.5 x 9 x 11 inches (19.1 x 22.9 x 27.9 cm)

Table of Contents, 2017Cherry wood, brass, bronze, beetle, copper foil, glass, wax, cotton wick, water 52.5 x 77 x 38.5 inches (133.4 x 195.6 x 97.8 cm)

The Chandlery, 2017Wax, cotton wicks Dimensions variable

The Chandlery, 2017Wax, cotton wicks Dimensions variable

All works courtesy the artist and Ghebaly Gallery, Los Angeles

Checklist of Works in theExhibition

SculptureCenter Staff

Mary Ceruti, Executive Director and Chief Curator Allison Derusha, Director of Advancement Ruba Katrib, Curator Kyle Dancewicz, Exhibition and Program Manager Claire Valdez, Operations Manager Jillian Scott, Communications, Marketing, and Digital Media Manager Gracia Ross, Individual Giving and Events Coordinator Cheryl Chan, Assistant to the Director/Development Assistant Meredith Friedman, Visitor Services Coordinator Morgan Edelbrock, Head Installer Kiersten Lukason, Installer Chitra Arunasalam, Finance Manager Tracy Keenan, Visitor Engagement Representative Amelia Brod, Education and Curatorial Fellow

SculptureCenter Board of Trustees

Sascha S. Bauer, ChairCarol Bove, President Robert K. Elliott, Vice ChairEleanor Heyman Propp, Vice ChairAllen H. Brill, Treasurer

Danielle Anderman Candy Barasch Andreas Beroutsos Sanford Biggers Benoit P. Bosc Priscilla Vail Caldwell Eleanor Cayre Libby Ellis Dennis Freedman John H. Friedman Roelfien Kuijpers Nate McBride Adam McEwen Allison Rubler Diane Solomon Elaine G. Weitzen Fred Wilson

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SculptureCenter 44-19 Purves Street Long Island City, NewYork 718 .361.1750www.sculpture-center.org

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ISBN 978069294233851000 >


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