The First Art Newspaper on the Net   Established in 1996 Monday, January 18, 2021

Paula Cooper Gallery opens a group exhibition of major sculpture by five artists
Robert Grosvenor, Untitled, 2018. Steel, wood, rubber, 8 x 20 x 8 ft (243.8 x 609.6 x 243.8 cm) © Robert Grosvenor. Courtesy Paula Cooper Gallery, New York. Photo: Steven Probert.

NEW YORK, NY.- Paula Cooper Gallery opened a group exhibition of major sculpture by Céleste Boursier-Mougenot, Liz Glynn, Robert Grosvenor, Justin Matherly, and Paul Pfeiffer, each inhabiting a discrete part of the gallery. Encompassing a range of material and scale, the works obscure the boundaries of familiar objects, traditional narratives, and normative modes. Using techniques of remaking, rebroadcasting, and repurposing, the artists expose the underside of things presumed known. The exhibition will be on view through May 4th, 2019 at 524 West 26th Street.

Extracting musical potential from the soundtrack of quotidian life, Céleste Boursier-Mougenot’s index, v.4 (2005/2009) consists of an unaccompanied Pleyel grand piano, mysteriously playing without a pianist. Wired to a complex, live feed, the piano strikes notes based on a predetermined metric for translating data into pitch, repetition, and chord. Concretizing as music, the piece renders enigmatic and affective the mundane functions of the everyday. Boursier-Mougenot states: “It is not a question of putting a sound object on display, but rather to show the unfolding of a whole system.”

Liz Glynn studies the ways in which cultural objects of the past embody or challenge values, power dynamics, and social systems. Originally conceived for her major exhibition at SculptureCenter, Afterimage: Cuzco (Golden Maize) reexamines the Spanish conquest and cultural destruction of the Incan Empire—specifically the 1532 ransom of Incan emperor Atahualpa by Francisco Pizarro. Glynn’s golden corn stalks and maize act as literal and poetic surrogates for the massive sums of precious metals that Pizarro demanded as payment. Through their humble materials and imperfect artisanship, Glynn’s reproductions question their own authenticity and ultimately the narratives that they denote.1

For his recent sculpture Untitled (2018), Robert Grosvenor presents a vehicular object standing upright in the center of a self-contained space. Illuminated from the rear, the rectangular receptacle is left open on one end, revealing a brilliant golden interior. Quietly and strangely punctuating the container, the central structure asserts a matter-of-fact presence, its cardinal red body reflecting the suffusive amber light. Resisting interpretation as both a discrete and holistic entity, the work mines the tension between the familiar and the disaffiliated, eluding semantic specificity.

Justin Matherly’s works explore the recrudescence of his 2017 monumental presentation, titled Nietzsche’s Rock—modeled after a pyramidal boulder in Switzerland, where Friedrich Nietzsche first formulated his thought of Eternal Recurrence in 1881. For his new works, Matherly recasts the fragmented molds from his public sculpture, creating discrete pieces with richly varied surfaces—alternately luminous and alabastrine, or fissured and stained with nuanced hues. Both spectral and material, the enigmatic forms evoke Nietzsche’s explanation of Eternal Recurrence as “the heaviest weight,” whispered by demons as they “steal into your loneliest of loneliness”—but conversely also as the path to supreme affirmation.

For Paul Pfeiffer’s new work from his Desiderata series, the artist rebroadcasts televised excerpts from the American game show, The Price is Right, on two miniature screens. Through subtle, digital manipulations, Pfeiffer maroons its contestations within the stage set, keying into their emotional vulnerability. Re-contextualized as a Seussical landscape of brash color and kaleidoscopic proportion, the absurdity of the stage heightens the isolation of its participants and mirrors the unattainable folly of their consumer desires. Empty shelves and prefabricated props bear evidence of aging and wear, underscoring a sense of manufactured and systematic false promise.

Mary Ceruti, “Liz Glynn: RANSOM ROOM,” exh. cat., SculptureCenter, Long Island City, NY (2014) ↩

Today's News

April 19, 2019

On roof of New York's Met museum, planets and skyscrapers collide

National Galleries of Scotland and V&A Musuem purchase Zucchi portrait of architect James Adam

Masterpieces of Japanese art donated to The Met, Freer│Sackler, and Portland Art Museum

Researchers discover ancient giant 'lion' in Kenya

Gagosian launches art advisory venture

Caravaggio's ornamental shield depicting the severed head of Medusa loaned for exhibition in Munich

Exhibition examines the use of Christian iconography in contemporary art

Christie's to offer rare Modigliani sculpture in May

Julien's Auctions announces Music Icons: Property From The Estate of Greg Lake

The Jewish Museum opens contemporary art exhibition inspired by global icon Leonard Cohen

Helter Skelter II to be offered on May 16 at Phillips

Lego, Game of Thrones and Monopoly help British Museum tell the story of toy money

Gazelli Art House opens an exhibition of works by Italian artist Giovanni Ozzola

Worry over 'modern art thing' on rebuilt Notre-Dame

Notre-Dame's precious rooster statue found 'battered' in debris

Exhibition of works by the artist SKU opens at the Saatchi Gallery

Thematic exhibition on the emergence of the Nietzsche cult at the turn of the 20th century in Germany opens

Exhibition unveils rare works from French architect Jacques Hondelatte's family archive

Prices for vintage video games and prototypes surge as rarities head to auction next month

J. Garrett Auctioneers to offer the lifetime collection of antiques dealer Sandra Clements

On American hard drives, a precise 3-D model of Notre-Dame

Jeanne Gang leads the design for California College of the Arts' expanded campus in San Francisco

Paula Cooper Gallery opens a group exhibition of major sculpture by five artists

'The Rest of History' opens at Virginia MOCA

Strategies for Students that Don't Like Studying

6 Art Galleries You Must Visit Before You Die


Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .


Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez

Royalville Communications, Inc
Founder's Site. The most varied versions
of this beautiful prayer.
to a Mexican poet.

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful