“The Gravity of Sculpture: Part II” curated by Saul Ostrow at the Dorsky Gallery, May 5 – July 3, 2013

By the late 1970s, the term “sculpture” had come to include all manner of events (actions and performances), materials (plastics, resins, rubbers, etc.), media (photography, film, video and electronics) and modes of presentation (site-specific installations, street works, documentation, etc.). “Sculpture” as a term had been transformed into the catchall and as a discipline it no longer had an identity of its own.

Saul Ostrow’s original intention in organizing this exhibition was to re-define sculpture as a discreet object – as a concrete thing -something phenomenal, rather than textual (anecdotal) or pictorial. What terms might now be used to establish the identity of sculpture as a specific category of objects given the history of sculpture’s engagement since the 50s with certain concerns, issues, and strategies. The Gravity of Sculpture was therefore meant to be a snapshot (a family portrait) of sculpture after it had climbed down off its pedestal, plinth, or base.

The dual meanings of the word Gravity in the title are seriousness (the enormity/importance of a situation) and force, the physical attraction that one object exerts on another. All of the works in this exhibition in some manner either employ or exploit the latter as an organizing principle.

The exhibition features the works of seventeen artists: Bill Albertini, Beth Campbell, Tony Feher, Brian Gaman, Robert Gero, Jeff Grant, DeWitt Godfrey, Sarah Kabot, Peter Kreider, Russell Maltz, Curtis Mitchell, Roxy Paine, Paul O’Keeffe, Alex Seton, Stephen Schofield, Jeanne Silverthorne, and Barry Underwood. (more)

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