Small Works at the Philadelphia Sculpture Gym

Last night was First Friday in Philadelphia, and the Philadelphia Sculpture Gym put on a Small Works show. It was so good to go out after a really long two weeks to see friends and some really lovely work in a neighborhood I don't spend much time in. (I have three of my While You Were Sleeping pieces in it!)

The Philadelphia Sculpture Gym won the Knight Arts Challenge in 2011, and it was started "to help Philadelphia sculptors create their works safely by creating a “sculpture gym” where artists can use heavy-duty tools, have storage space and get one-on-one help with projects."

Although they are still in the midst of finishing the space, the vision is really impressive. The gallery is in full swing, already hosting shows featuring casting and wood processes and a solo show by Terri Aluise. There will be classroom space, a woodshop, hot and cold metal shops, and storage space. I'm definitely considering a membership there!

New work and website at julialines.com

I have been working on a website change for some time now, and it's finally presentable! I used Cargo Collective for the structure of the site, and it was liberating to be able to have a site that allows me to go beyond my basic html and web skills, but still allows me to fully edit and customize it. Take a look at some new work, and revisit some of the old!

Nick Cave's Soundsuits

(at Mary Boone)

Nick Cave, the sculptor and Alvin-Ailey trained dancer, is one of my favorite artists. I first saw his work in Pittsburgh in 2006 at the Mattress Factory. The space was low-lit and full of artifacts relating to masculinity and the history of slavery. It was very quiet and thoughtful, but articulate and insistent. This piece immediately placed him among my favorites, as I kept returning to this room and later, kept thinking about the feeling in the space. Later, I discovered the Soundsuits and I must admit, these I was slower to appreciate. I saw them at Jack Shainman Gallery in Chelsea in 2009, and loved the way they took up space and the use of materials in a fiber tradition, but had trouble imagining the pieces in motion. This fall, he had a two-part show at Jack Shainman (Ever After) and Mary Boone Gallery (For Now). There were four rooms of Soundsuits and one of video, which I now believe should always accompany his work.  Seeing the pieces in motion, over time with repetition and rhythm, brought it all together for me.

(at Jack Shainman)

I took photos of both exhibitions, but as my camera is broken, only used an ipod, which is really a shame as I wanted to capture the detail better. Each button was sewn on in such a purposeful manner that even the underside of the cloth (here fulled wool) is beautiful. The button pieces at Jack Shainman used mostly a poly-looking jacquard as basecloth. 

(at Jack Shainman)

I loved the draping on these pieces, as well as the white and yellow shift below.

(at Jack Shainman)

At Mary Boone, all the pieces were on a raised oval pedestal, showing an entire selection of Soundsuits. I love the found object ones and the sequin appliques, but am partial to the stick/basket/drapey fur. I really think you should check out one of his videos on Mary Boone's site.

(and the feet!)

wire, rope, cement and growth

I'm currently working on a proposal for a 16x30' sculpture on the side of a building. Tonight I'll construct the moquette with wire and rope. The joy of writing proposals is that everything must be true and correct, but the work does not have to be actually done yet and you don't have to worry so much quite yet about where you're going to get the money to weld together a 16x30 foot sculpture on the side of a concrete wall with wire and rope and plantings.