Exposition Art Blog: 2019

Sabina Ott - Sculpture & Installations


Sabina Ott (October 8, 1955 – June 26, 2018) was an American artist known for her broad range of work—from painting to installation to sculpture—and her central role in the art world as teacher, administrator, and recently, as the founder of the exhibition space Terrain, which invites artists to create installations and performances using the exterior of her Oak Park home.Exhibiting since 1985, Ott participated in over 100 solo and group exhibitions at institutions in Sao Paulo, Brazil; Auckland, New Zealand; Melbourne, Australia; and many cities across the U.S. Her work is in numerous museum collections including The Whitney Museum of American Art, Los Angeles County Museum of Art and the Oakland Museum of Art, and has been reviewed in Art in America, Art Forum, New Art Examiner, The New York Times, and The Los Angeles Times, among other publications. Wikipedia
Ott’s sculptures, however are predominantly founded in dense, white Styrofoam material scored and fashioned into large, organic shapes. Into this material Ott may insert various colors or found objects like clocks, cloth, and mirrors embedded into the surface . Ott’s sculptures are not always three-dimensional; they may hang on a wall or from the ceiling, or rest upon a shelf. This title seems to be an apt one, that not all material is immaterial. 


















Lyman Emmet Kipp - Abstract Sculpture


Lyman Emmet Kipp ( 1929 -  2014) was a sculptor and painter who created pieces that are composed of strong vertical and horizontal objects and were often painted in bold primary colors recalling arrangements by De Stijl Constructivists. Kipp is an important figure in the development of the Primary Structure style which came to prominence in the mid-1960s.
"Lyman Kipp's sculptures, despite the presence of primary colors on rather thin, clean rectangular forms, remind one of ancient megaliths in their primitive organization. Several look like brightly colored, somewhat attenuated versions of Mycenaean arches, with simple lintels supported by unadorned piers - except that Kipp's pieces lack mass, let alone any sense of monumentality, and refer most cogently to painting. Hard Edge conceptions when extended to painted sculpture lose a great deal of transmission, especially of the sculpture does not project any sense of weight, as it certainly doesn't here. One of the central features of Hard Edge painting is its insistence on an effective distinction between interior and exterior space - the edge of the canvas contra the edge of the shape. However simple the elements may be, success requires a precise distribution of weight throughout a surface in order to prevent either extension beyond a pictures borders or incursion into the pictorial area. Lacking exact definition, a painting risks having its forms leave the surface and act as independent objects located in an indeterminate space. Kipp's work can be faulted chiefly on these grounds. His sculptures are simple objects that do not articulate the space they occupy, and his drawings look much like architectural renderings of isolated such as a doorway or window frame. ( Sidney Zimmerman, Arts Magazine, 1966  lymankipp.com )
















Carl Beam - Photo Collage


"Carl Beam is an artist who works in a variety of media to explore the tensions between Western and Aboriginal relations. In his autobiographical work, he references himself as an Ojibwa, and places his Native culture within broader surroundings. He brings to attention problems that affect contemporary Native cultures and shows, through his juxtaposition of images, how these concerns relate to larger world issues. Through his work Beam integrates personal memory with issues related to the environment, brutality, and a rethinking of the ways histories are told.
Beam was born in West Bay on Manitoulin Island in 1943. His formal studies of art began at the Kootenay School of Art in British Columbia in 1971, and he transferred to the University of Victoria in 1973. Beam received his MFA at the University of Alberta in Edmonton in 1976. In his training he was influenced by artists Jasper Johns and Robert Rauschenberg for their collaging of images from popular culture and expressive handling of paint and printing, and Andy Warhol for his use of photo-silkscreen processes..Beam employs a range of media, including painting, printmaking, and sculpture. The collage and photo-transfer techniques he often uses allow him to visually bring together subjects and events from different historical moments that he infuses with political commentary. His contemporary art-making strategies serve and empower his engagement with the struggle of Aboriginal people in the late 20th century."(gallery.ca)















Max Walter Svanberg - Surrealism




Max Walter Svanberg (February 21, 1912 – May 28, 1994) was a Swedish surrealist painter, illustrator, and designer. His most prevalent motifs were of women's bodies merged with elements of flora and fauna.Born in Malmö, Sweden, Svanberg founded the Swedish artist group Imaginisterna in 1948, but left them soon after. In 1950, he published an album of lithographs. In 1953, he was invited to join a surrealist group in Paris led by André Breton. Svanberg exhibited at the Galerie de l’Etoile Scellee in 1955. In 1958, he illustrated an edition of Arthur Rimbaud’s Illuminations.Wikipedia 
 "Max is early in his life inspired by the female body, already as a 10 year old he makes sculptures in wood of women torsos.Starts to work on technical school in the decoration department in 1929. Starts on Art School in 1931.Exhibits his first pieces of art in 1935, some flower stilleben, but with a little touch of sureallism. In 1942 he starts the group Minotaur together with a.o. Hulten and Osterlin. In 1945 Jorn visits Malmoe, as he after the war is eager to seek for artists and inspiration after 5 years in the occupied Denmark, he meets Minotaur, and the artists in these circles.
In 1946 Svanberg creates the expression 'Imaginism' and most of the group Minotaur follows this direction.In 1949 Jorn talks to Imaginisterne about Cobra, and they find that there are a lot of common interests, so Imaginisterne becomes the Swedish branch of Cobra, as Host was the Danish craddle for Cobra.Svanberg participates in a few exhibitions, but gets after Cobra more and more inspired by the surrealism, which this lithograph shows, he makes a litograph for Cobra nr. 5. shown below.During the 50's and 60's his pictures get more surrealistic, and very erotic, illustrated among others in the exhibition in Malmoe Kunsthal in the summer of 1979, the catalog is very fine documentation on Svanberg. "( www.cobra.li )