February 3–February 5,2015

About SculptureCenterFounded by artists in 1928, SculptureCenter is a not-for-profit arts institution dedicated to experimental and innovative developments in contemporary sculpture. SculptureCenter commissions new work and presents exhibits by emerging and established, national and international artists.

Board of TrusteesSascha S. Bauer, ChairFred Wilson, President Danielle AndermanCandace BaraschAndreas BeroutsosSanford BiggersJames L. BodnarCarol BoveAllen H. BrillPriscilla Vail CaldwellEleanor CayreRobert K. ElliottLibby EllisArline FeinbergJohn H. FriedmanGlauco Lolli-GhettiNate McBrideAdam McEwenElena M. PaulEleanor ProppLisa SchiffDiane Solomon Elaine G. WeitzenMary Ceruti, Executive Director and Chief Curator

Thank YouMaccarone NYUOVO Fine Art StorageLanguage Arts, Graphic DesignNadine Johnson and Associates, Public RelationsJessica HongAstoria Distilling CompanyCraft Distillers

Participating ArtistsSanford BiggersLouise BourgeoisCarol BoveTom BurrPetah CoyneTom FriedmanDan GrahamWade GuytonCamille HenrotJudith HopfRashid JohnsonLouise LawlerMargaret LeeNate LowmanAdam McEwenHaley MellinClaes Oldenburg and Coosje van BruggenMartin PuryearBlake RayneUgo RondinoneSterling RubyRichard SerraJosh SmithKyle ThurmanKon TrubkovichOscar TuazonSara VanDerBeekUrsula von RydingsvardFred Wilson

Exhibition CommitteeSascha S. Bauer, CoChairEleanor Cayre, CoChairCandace BaraschDouglas Baxter/Pace GalleryJames L. BodnarMarianne BoeskyStefania BortolamiPriscilla Vail CaldwellRachel Carr GouldingPaula Cooper GalleryGagosian GalleryGemini G.E.L. at Joni Moisant WeylGladstone GalleryGreene Naftali GalleryJack HanleyHauser & WirthBranwen JonesKaufmann RepettoGalerie LelongLuhring AugustineMichele Maccarone and Ellen LanganMaureen MahonyMetro PicturesOffice BaroqueLowell and Courtney PettitFriedrich Petzel GalleryGalerie Eva PresenhuberEleanor ProppSusan RandolphLisa SchiffAdam ShefferDavid Zwirner Gallery

Sales InquiriesBen Whinebwhine@sculpture-center.orgtel 718.361.1750 x117cel 917.669.9629

Hosted by Maccarone NY98 Morton StreetNew York City 10014

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Introduction

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Since its founding by artists in 1928, SculptureCenter’s mission has been to realize and support artists’ visions and experimentations. Artists have always been among our most loyal supporters and now, at this very special time in our history, the generosity of the artists taking part in the Building SculptureCenter Benefit Exhibition will allow us to secure SculptureCenter’s future. Proceeds from sales of works in the exhibition will enable us to continue taking risks with new ideas and exploring the potential for contemporary sculpture.

This exhibition caps a $5 million campaign for our recent expansion and renovation that has positioned the organization to play a defining role in the international contemporary art field and in Long Island City far into the twenty-first century.

We gratefully acknowledge the support of all of the artists and galleries who have made this exhibition possible. We are particularly indebted to our exhibition committee and to Michele Maccarone, Ellen Langan, and the entire staff of Maccarone NY for hosting the exhibition and to UOVO Fine Art Storage for in-kind transport and logistics support.

The exceptional pieces in this exhibition are a glimpse at what working sculpturally means today. The incredible generosity of the artists in donating them, and of the visionary collectors who purchase them, will allow SculptureCenter to work with more artists to explore that topic and to expose a greater audience to the results.

Mary CerutiExecutive Director and Chief Curator, SculptureCenter

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Participating Artists

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Sanford BiggersStudy #6, 201517 x 14 inchesAssorted textiles, kimonos, treated acrylic, spray paint, on archival paperCourtesy the artist.

Sanford Biggers is a multidisciplinary artist whose works are both personal and expansive. For Biggers, identity is a malleable substance and a critical material in his work. Reflecting his own sense of autobiographical experiences, he incorporates objects that symbolize the prototypical black experience, but connects them to a larger cultural milieu. Biggers claims no hierarchy of his themes and subject matter, and by doing so he augments and enriches our knowledge and understanding of our respective and collective histories.

$10,000

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Louise BourgeoisPINK DAYS, 2008Archival dyes printed on fabric with embroidery18 x 22 inchesEdition #8/40Courtesy Adam Sheffer, New York. Image: © The Easton Foundation/Licensed by VAGA, New York, NY.

Louise Bourgeois’ works actively and fearlessly explore the artist’s own psyche and personal traumas, extracting and manifesting the unconscious pockets of the mind. Using psychoanalysis as a critical lens, she often created haunting and fraught sculptures and installations, giving the viewers challenging, yet perhaps for Bourgeois, necessary visceral and intellectual experiences with her work. Issues range from patriarchic oppression, as seen with her phallic sculptures, the complicated role of the mother, presented in the artist’s both nurturing and horrifying Spider series, to the crippling and solitary feeling of dread, anxiety, and fear embodied in her Cell structures. By confronting such painful themes, Bourgeois’ works resulted in profound formal innovations, influencing a great number of young artists. Bourgeois referenced pink and blue, traditionally gendered colors, in sculptures and prints exploring childhood memories. Clothing and fabric were evocative materials that Bourgeois used regularly, particularly in her later years. As she once asserted, “We all have pink days and blue days.”

SOLD

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Carol BoveUntitled, 2014Peacock feathers on linen, UV filtering acrylic38.75 x 24.75 x 5 inchesCourtesy the artist, Maccarone NY, New York, and David Zwirner, New York/London.

Carol Bove’s simple yet deliberately composed assemblages of largely conventional objects elicit unconventional and intriguingly new denotations between these objects. She likens her works to kits, including available materials, such as books, driftwood, peacock feathers, metal, concrete, and foam, to set up precise mise-en-scènes for a given context. If there is a sense of outmodedness with a hint of wistfulness, it is because she frequently refers to the social movements of the 1960s and 70s, movements in which intellectual and political culture incorporated the mystical and spiritual. Her works serve as visual manifestations of how we engage with history, revealing the way we frame our understanding of history and the world around us. Peacock feathers have been an iconic element in Bove’s work for a decade. Peacock feathers are strongly symbolic, with different cultures and points in history ascribing various meanings—from omniscience and compassion, to immortality and resurrection.

SOLD

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Tom BurrRectangled Restraint, 2012Stained plywood, used shutters72 x 14 x 48 inches© Tom Burr. Courtesy the artist and Bortolami, New York.

Tom Burr’s sculptures are not so much about the object or his authorial position over it, but what the object points to outside of itself. Visually quoting Minimalism, he utilizes readymade materials to create what look like found assemblages, such as a pile of window shutters, worn shoes on plinths, and folded Plexiglass sheets, but are deliberately and thoughtfully made. From three-dimensional space to blanketed canvases, Burr mines and unveils the physical as well as cerebral features of these objects, and persistently refers to an idea of place. The artist is interested in conventions pertaining to site-specificity and the issues that surround it: the politics of public and private realms and how these sites inconspicuously yet influentially produce and affect our social experiences.

$30,000

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Petah Coyne’s sculptures and photographs draw viewers in with their unique allure— dark and visceral yet beautiful. Originally working with industrial materials, Coyne started using wax in the 1990s and was struck by its pliability and delicate nature, but also how it reaches a state of stability. Coyne’s large wax sculptures embrace this functional duality of fragility and durability alluding to the ease with which we can collapse what we consider of this world and one of fantasy. When encountering the artist’s works, we walk in from one world to effortlessly and magically find ourselves in another. Coyne blurs the subjects of her photographs to evoke a dreamlike state, transforming the exhibition space into chimerical worlds where our physical domain collides with our imaginative one.

SOLD

Petah CoyneUntitled #1377 (Mt. Koyasan), 2012Photo etching36.625 x 46.375 inchesEdition #3 of 22 with 5 APs, 2 HCs, 1 PPGift of Petah Coyne and Lamar Hall. © Petah Coyne. Courtesy Galerie Lelong, New York.

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Tom FriedmanUntitled (dollar bill, back), 2011Silkscreen print25.25 x 56.25 inchesEdition #72/100 with 10 APsCourtesy the artist and Luhring Augustine, New York.

Tom Friedman is a conceptual sculptor yet approaches each work like a scientific project, building, as he declares, “from the atom up.” By doing so, he creates a new composite material distinct from the originating material, demonstrating the artist’s alchemic prowess. Friedman takes the slapstick, scatological, and the mundane—which can range from pencils, soap, toothpicks, or human feces—as well as popular culture and the culture of violence—such as a collapsed cartoon corpse bleeding out onto the gallery floor—to create humorous, yet compelling works that alter and enhance one’s perception. Like his other work, Untitled, (dollar bill, back) is technically astounding, rendering the familiar image of the back of a dollar bill in a rainbow of colors. The scale of the print also poses questions about art, value, and commercialism.

SOLD

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Dan GrahamHigh Rise New York City Office Buildings, 2009Color photograph11 x 16 inchesCourtesy the artist.

Dan Graham, a conceptual artist working in performance, installation, video, and film, as well as a prolific writer and curator, has persistently explored the relationship between different architectural environments and their occupants. His famed Homes for America (1966–67) existed only in print media and consisted of photographs of a New Jersey suburban development, exploring the monotony of new residential architecture—similar works included rising commercial office buildings—at the time and its paradoxically alienating effects. Soon after, he began incorporating mirrors into his installations, such as his pavilions of the late 1970s, to highlight the voyeuristic elements of design and architecture in the modern age. Reflected visitors and passersby interact with and become part of these works, displaying the ontological reflections these structures have on us.

$20,000

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Wade GuytonUntitled (Paper’s Defiant Muhammad Cover Raises New Tensions), 2015 Epson DURABrite inkjet on book page8 x 6 inchesCourtesy the artist and Petzel Gallery, New York.

Wade Guyton’s paintings, scanned or fed through inkjet printers, are exemplars of technology’s effects in and on art in today’s digital age. Selecting specific images and symbols, such as an “X” or “U”, Guyton relies on the technological apparatus to execute and carry out the final product. The artist comes out of and expounds upon both Pop and Minimalism using a process of mass production; but in accordance with the contemporaneous, he examines the new and evolving ways in which we view and interact with artworks and images. These works are not just static objects or merely paintings, but are also performative in nature, as they are “acting” like painting, expanding the process of and the very notion of painting.

SOLD

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Camille HenrotTropics of Love, 2010–2012Chinese ink on paper16.5 x 11.5 inches (image) 17.125 x 12.25 inches (frame)© Camille Henrot. Courtesy the artist and Metro Pictures, New York.

Camille Henrot’s work analyzes constructed systems and taxonomies in which we learn and receive information, particularly that of historical periods. The artist’s video and film works incorporate drawn art, music, and reworked film clips and images. Her acclaimed Grosse Fatigue (2013), first presented at the 55th Venice Biennale, attempts an explanation of the earth’s origins in the language of this contemporary, digital age made during her residency at the Smithsonian in Washington, D.C.Through her oeuvre, the artist creates analogies to the ways in which we understand human history, which alongside the sciences, religion, and traditional folklore can also explicate the ways in which the universe functions. For Henrot, there is not one exclusive methodology, but many that can repel and coexist in one realm. In her Tropics of Love series of ink drawings, Henrot pushes the limits of gender, identity, and even species through exhaustive repetition of figures that are hybrids of male and female, human, vegetal, and animal.

SOLD

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Judith HopfFlock of Sheep, 2014Concrete, styrofoam, coal19 x 19 x 21.6 inchesUnique edition from the series Flock of SheepCourtesy the artist and Kaufmann Repetto.

Judith Hopf, working in a variety of media including painting, film, installation, and drawing, playfully and intelligently investigates the ramifications of the environments in which we function. She whimsically anthropomorphizes her sculptures, allowing the viewers to imagine new scenarios for the given object, such as a vase having emotion or concrete blocks as sheep, turning them into something both alive and stagnant. Her spatial installations explore the interior or exterior space in which they inhabit, working with the given architecture to expand the wall’s physical confines. They transform the space into an active metaphorical space, one with infinite possibilities. For Hopf, humor segues to the serious, proving that the two are not mutually exclusive and indeed work in tandem, even in the aesthetic realm.

SOLD

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Rashid Johnson explores, confronts, and questions the cultural and external influences that shape the social identity of African Americans. Beginning with photography, he is also known for his shelve installations, which carry personally significant objects, including shea butter—derived from the African shea nut moisturizer Johnson’s mother persistently had available in their home—to books, record albums, and oyster shells. For his recent paintings, laboriously made, he continues to use objects and materials of autobiographical relevance. By individuating himself while also asserting his cultural identity, the artist problematizes the tropes of African Americans as one cultural entity and reveals the exasperating voyage to define oneself.

SOLD

Rashid JohnsonCosmic Slop “Nino Brown”, 2014Black soap, wax40 x 30 x 2 inchesPhoto by Martin Parsekian. © Rashid Johnson. Courtesy the artist and Hauser & Wirth.

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Louise LawlerMetadata, 2003/2014Digital fujiflex print mounted on aluminum on plywood20 x 18.25 inchesEdition #1 of 5 with 1 APCourtesy the artist and Metro Pictures, New York.

Louise Lawler, working mainly in photography, focuses on the presentation and circulation of artwork, and how that affects not only our experience, but also our views and ideas about art. Considered part of the Pictures Generation, Lawler has been working since the late 1970s, a period which saw the exponential growth of the art market. She brings a cool, critical, and witty eye to images of artwork in museum galleries, collectors’ homes, storage rooms, auction houses, and art fairs. The photographs resemble high-gloss snapshots yet are carefully composed, creating formal correspondences and visual puns. Her conceptual project explores the context of display and meaning and is as much about how we see as what we see.

SOLD

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Margaret LeeTable Arrangement #1, 2015Plaster, stainless steel, laminate, wood32 x 38 x 14 inchesCourtesy the artist and Jack Hanley Gallery, New York.

Margaret Lee’s sculptures and photographs combine found and handmade objects, bringing together disparate materials such as a curved cucumber as a telephone handset. Once fused together, these objects begin to visibly and conceptually resemble one another. Using humor, Lee’s selected objects find new meaning in the everyday. By mimicking the logic of product display and carefully staging objects using patterns and color, Lee creates formal yet absurd relationships between the things that surround us.

SOLD

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Nate LowmanGreen Leaf, 2014Oil and alkyd on canvas22 x 9.5 inchesCourtesy the artist and Maccarone NY.

Nate Lowman belongs to a group of artists that elevated the downtown trash aesthetic into a serious art form. Acting as a foil to the commercial art market, his works often explore American trash culture, incorporating images like the ubiquitous smiley face found on plastic shopping bags. Akin to some of his Pop predecessors, the artist also probes traumatic cultural events mediated and sensationalized by news outlets; his exploding cartoon-like bullet holes appear to open a portal to another dimension. Green Leaf is part of a series of shaped canvas works in which Lowman has appropriated the leaf of the Apple logo as a surface for painterly gestures and mark-making.

SOLD

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Adam McEwenUntitled, 2014Inkjet print on cellulose sponge77.95 x 58.25 inchesCourtesy the artist and Friedrich Petzel Gallery. Image by Farzad Orwang.

Adam McEwen brings death to life through wit. He has previously created fictional obituaries for famous living figures from Jeff Koons to Bill Clinton, creating eerie memorials for living people while referring to the common practice of prewriting obituaries for significant public figures in newspaper offices. In a series of sculptures, he replicates everyday objects—such as a water fountain or light bulbs—in graphite, simultaneously monumentalizing them by rendering them ineffective and monotone, but also alluding to alternate potentialities. In his gum paintings, the artist refers to New York City’s gum-laden sidewalks, creating compositions that refer to the marking of time through mark-making, and bodily passages through the urban environment. He furthers this logic with his sponge paintings, where he superimposes black and white photographs of sidewalks onto the domestic and hygienic connotations of sponges.

SOLD

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Haley MellinUntitled (Richter Grau), 2015Oil on canvas47.875 x 62.875 inchesCourtesy the artist and Still House.

Haley Mellin, along with many of her digitally and technologically inclined millennial contemporaries, functions between digital and painterly realms, and more importantly connects these two distinct fields. Many of the artist’s canvases appear exceedingly simple, such as an image of a peeled banana or a bunny mold against white backgrounds, but are incredibly detailed and carry ample visual and conceptual depth. The overall result is a flat picture plane, but the depicted objects are digital images that act as signifiers for the virtual realm. When looking at a three-dimensional object on the flat surface of a computer or television screen, the viewer understands that the object is intrinsically multidimensional. Mellin actively defies earlier painting conventions, updating it into our forward and fast-moving era.

SOLD

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Claes Oldenburg and Coosje van BruggenCanapé Gazebo, 1999Cast aluminum painted with latex55.5 x 24.75 x 13 inches with three positionable elements:Man: 4.74 x 2.5 x 7.25 inchesDog A: 1.625 x 1.25 x 2.75 inchesDog B: 1.75 x 1.75 x 2.75 inchesEdition #4 of 4 with 1 AP© Claes Oldenburg and Coosje van Bruggen. Courtesy the artists and Paula Cooper Gallery, New York.

Claes Oldenburg and Coosje van Bruggen collaborated for over 30 years creating some of the most iconic works of public art throughout the United States and Europe. Oldenburg was one of America’s best-known Pop artists when he met and eventually married van Bruggen, an accomplished curator and art historian, in the mid-70s. Their whimsical sculptures extend and heighten the banal, but are also rigorous investigations into notions of place, consumption, and desire. The Canapé Gazebo enlarges an hors d’oeuvre consisting of a slice of cheese on two pretzel sticks to a garden folly, in the shelter of which the owner reclines, reading in the company of his two dogs. By choosing and augmenting (or diminishing) mundane objects, such as typewriter erasers or, in this case, hors d’oeuvres, to a near-ludicrous, even cartoon-like scale, the artists challenged the conventions of public art and the role of sculpture.

$200,000

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Martin PuryearBlack Cart, 2008Aquatint etching35 x 28 inchesTP #5 of 9. Edition of 50 with 14 APsCourtesy the artist and Paulson Bott Press.

Martin Puryear is known for his abstract and emotionally expressive sculptures, infused with both autobiographical and collective memory. Informed by Minimalism and executed with traditional building techniques, Puryear’s sculptures are inspired by a variety of styles including Scandinavian furniture design, surrealism, West African woodwork, European modernism, and Arctic carving. The resulting works are elemental, often organic in form, and expertly crafted. Printmaking has been a part of Puryear’s practice from the beginning, having originally studied it in art school, but in the last 15 years he has returned to it as a significant aspect of his work. Puryear’s prints are manifestations of his sculptural ideas. In the case of Black Cart, Puryear explores the form of a found wheelbarrow he incorporated into the sculpture C.F.A.O. (2007), a work that merges European and African objects.

SOLD

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Blake Rayne’s conceptually driven paintings are at first innocuous. The artist appropriates tropical floral imagery found on campy textiles, spray-paints abstract patterns, or includes blown-up snapshots of cats overlaid with boxes and bars evoking an analog or digital screen.Not decorative, these works touch upon the conditions of which they were made. Often referred to as “transitive paintings,” a term coined by art historian David Joselit, these canvases are part of a larger network of associations that surround and move beyond the object. In addition to activating the exhibition space, Rayne occasionally includes the crates in which these objects were shipped, illustrating and spotlighting the rarely, if ever, seen operative elements required to bring an exhibition to fruition. The completely trivial, logistical aspects are not necessarily elevated as art nor do they assert a new form of intellectual stimulation, but revere banality and present the ordinary in new light.

$6,000

Blake RayneUntitled, 2014Acrylic, pencil, and glass powder on paper17 x 24 inches (framed)Courtesy the artist.

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Ugo RondinoneThe Reflective, 2014Bluestone, steel, concrete pedestalFigure: 53 x 19.5 x 12 inchesPedestal: 18 x 24 x 24 inchesCourtesy the artist and Gladstone Gallery, New York, and Galerie Eva Presenhuber, Zurich.

Ugo Rondinone is known internationally for diverse bodies of work including sculpture, installation, photography, painting, sound, video, and drawing. Often romantic in its aesthetic and tone, Rondinone’s work probes the human condition through a poetic engagement with materials. The Reflective is part of a series of figurative works that included the nine monumental sculptures that occupied Rockefeller Plaza in New York and the more human-scaled sculpture in his exhibition soul at Gladstone Gallery, both in 2013. Assembled from rough-hewn bluestone collected on his property in upstate New York, the stones are stacked together, creating elemental and archetypal human forms. Rondinone leaves the natural surface, worn from centuries of weather, and traces of the stone’s handling which imbues the sculpture with a sense of ancient history, reflecting the artist’s ongoing investigation into the nature of time.

SOLD

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Sterling RubyVampire 92, 2012Fabric and fiber fill84 x 45 x 2 inches© Sterling Ruby. Courtesy the artist.

Sterling Ruby adroitly examines the deep, uneasy recesses of American culture, from super-max prisons and masturbation to an imagined and frightful dystopian world in the not-so-distant future. Ruby brings to the fore a culture overrun by literal and ontological pollution and ignorance. His soft sculptures pick up on the legacy of Pop art but also of fiber art, feminism, and abject art. With these works, objects of comfort—pillows and blankets—are transformed into the menacing image of a vampire’s gaping mouth.

SOLD

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Richard SerraDouble Rift II, 20133 panel, 1 color etching94 x 144 inchesEdition #6 of 12Double Rift II © Richard Serra and Gemini G.E.L. LLC/ARS, New York.

Richard Serra is best known for his iconic steel sculptures for outdoor sites and in finite gallery spaces where the viewers are confronted, even besieged by, these grand objects that stand before them. The artist was among the early experimenters in conceptual and process art, working with manufacturing materials such as steel and lead. His work, from the earlier Prop pieces to his monumental steel installations to his works on paper, achieve an impossible balance, presenting us with the incredible and invisible force of gravity, the splendor of mass and density, and sheer industrial and human audacity. These works are highly engineered and meticulously planned, which paradoxically mask the immense labor invested into them, as they seem to exist in their own, distinct realm.

SOLD

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Josh Smith dexterously explores the signification of an artist’s persona and art-making as a means to express their individual identity. He reveals that he selfishly makes his own works to “prove that he exists,” as seen primarily through well-executed paintings of his own name, a common, all-American male name. The artist also works in sculpture, printmaking, ceramics, and collage, but Smith’s recent works are paintings of kitschy motifs, including insects, leaves, sunsets, and palm trees, all done in vividly rich colors. He points to the moribund nature of these trite subjects, their meaning flatly reduced and appropriated into cheap knick-knacks easily found at tourist depots or 99-cent stores. Smith’s formulaic works present another painterly mode, reflecting the nuances of the everyday with facetious simplicity and technical astuteness.

SOLD

Josh SmithUntitled, 2014Monotype on Plike white paper37.5 x 27.5 inches© Josh Smith. Courtesy the artist and Luhring Augustine, New York.

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Kyle ThurmanUntitled, 2014 17 x 22 inches (plus frame)Dispersion pigment, embossment, graphite, oil shale, silica, urethane, inkjet transparency, and photographic print on engineers paperCourtesy of the artist and Office Baroque, Brussels.

Kyle Thurman expands nature’s preciousness with his paintings, drawings, and sculptures. For his large-scale fabric paintings, the artist extracts his pigments from artificially dyed flowers and uses these same flowers as stencils to create the composition’s patterning and imagery. In lieu of unmitigated aesthetic pleasure, these flowers become utilitarian objects for different and unorthodox aesthetic purposes. His process, however, goes against nature, as he immortalizes these flowers, which have a finite period of growth and decay. Thurman draws on engineering paper and exhibits the shipping crates in which the flowers were packaged, contrasting the structured grid of the paper with arrangements of incongruous images, as well as the beautiful and the natural with conventional and manmade cardboard boxes. His process results in polyphony, both forced and organic.

$3,600

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Kon Trubkovich’s acute interest in incarceration and imprisonment stems from his childhood in Soviet Russia, as he says, where thoughts of escape and utopia were understandably on everyone’s minds. His canvases, blown up images of paused moments from VHS tapes, are a visual haze of memory or of something the artist intuitively feels as true. This depiction of static refers to the degenerative qualities of VHS’s magnetic tape as well as the fleeting nature of memory, resulting in hypnotic, perhaps elegiac imagery. He begins with the autobiographical, such as images of his mother, but aims for his work to be part of a broader, collective experience of remembering and forgetting. Trubkovich sees the entire exhibition space as an emotional one, immersing the viewers to have them witness, feel, and actively remember these given experiences.

SOLD

Kon TrubkovichShadow Sonata, 2014Oil on linen24 x 40 inches (in two pieces)Courtesy the artist and Marianne Boesky Gallery.

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Oscar TuazonUntitled, 2014Plaster, steel30 x 30 x 2 inchesCourtesy Oscar Tuazon Studio and Maccarone, NY.

Oscar Tuazon’s extreme DIY aesthetic, combining the natural with the industrial, prompts a visceral physical response to his work. His architecturally inspired sculptures consisting of concrete slabs, large wood beams or tree trunks, and strong rods of steel or heavy chains look and then, for the viewer, actually feel weighty. Tremendously involved and labor-intensive, he employs technicians and riggers, beginning with a sketch and continuing to work improvisationally and intuitively to construct his pieces. Tuazon brings the most “basic physical thing” to something that can provoke a “disarming and strange” interaction and experience with these works with their physicality becoming formless.

SOLD

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Sara VanDerBeekGalaxy II, 2014Concrete, pigmented wax12 x 10 x 10 inchesCourtesy the artist and Metro Pictures.

Sara VanDerBeek works at the intersection of image and object. Her early experiments involved photographing sculptures, furthering photographic breakthroughs of the Pictures Generation. She began her career photographing objects, sculptures, and architectural elements from antiquity staged in museum galleries, exploring their relationship to their current spatial context. Isolating the subject, she shot on film and scanned the images to create digital C-prints. She then manipulates color, light, and shadow in various ways that can result in abstraction, new formations, and volume or a play in the temporal, the present with the past. In addition to context, VanDerBeek is also interested in the intersection of image and object. In the past, she built sculptural objects in order to photograph them but has more recently presented sculpture in its own right.

SOLD

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Ursula von RydingsvardBurnt Honey, 2011 – 2014Cedar, pigment61 x 97 x 5 inchesPhoto by Michael Bodycomb. © Ursula von Rydingsvard, courtesy of Galerie Lelong.

Ursula von Rydingsvard is best known for creating large-scale, often monumental sculpture from cedar beams, which she painstakingly cuts, assembles, glues, clamps, and laminates, finally rubbing powdered graphite into the work’s textured, faceted surfaces. Her signature shapes are abstract, with references to things in the real world. Each work reveals the mark of the human hand while also summoning natural forms and forces. Von Rydingsvard’s recent wall sculptures may be likened to a wall drawing in cedar. They suggest necklaces, lace or other adornment with knobby, cupped forms and graceful lines executed on a scale that evokes landscape more than the body.

$45,000

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Fred WilsonI Saw Othello’s Visage In His Mind, 2013Murano glass, wood64 x 51.5 x 7 inchesAP 1 of 2. Edition of 6 with 2 APsCourtesy the artist and Pace Gallery.

Fred Wilson won international acclaim in the early 90s for his interventions into museum collections that bring attention to the social and historical narratives that have guided policies of collection, display, and scholarship, specifically narratives that marginalize and exclude people of color. For the artist’s iconic 1992 Mining the Museum exhibition, he reorganized Maryland Historical Society’s collection to feature the history of Native and African Americans in Maryland. In 2003, Wilson represented the United States at the Venice Biennale, which precipitated his work with Murano glass. His series of black glass chandeliers and mirrors appropriate European decorative styles while commenting on the racial implications of color and the African diaspora.

$165,000

34Conditions of SaleThese Conditions of Sale (“Conditions”) describe the relationship between SculptureCenter, Inc. (“SculptureCenter” or “we” or “our” or “us”) and the buyers from the Building SculptureCenter Benefit Exhibition (“the exhibition” or “the sale”). By purchas-ing a work from the sale, you (“the buyer” or “you” or “your”) agree to be bound by these Conditions. Please read these Conditions carefully, and feel free to contact us if you have any questions.

1. BASIC CONDITIONSWorks presented as part of the sale have been donated by the artist, their representative or their estate (the “donor”), for charitable purposes for the benefit of SculptureCenter. In the case where a donor has speci-fied additional conditions, those will apply.

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Insurance. Responsibility for insuring the work trans-fers to the owner upon confirmation of the sale.

Payment Processing. We may accept payment by wire transfer, credit card or check at our sole discre-tion, and we have no obligation to accept payment by other means. We accept American Express, Visa, or MasterCard only. We may place limits on any credit card purchase and/or use third-party payment processors to process any transaction at our sole discretion. If any credit card payment is not approved, the buyer will remain personally liable for all amounts otherwise due. The buyer agrees to notify us directly in writing of any claims or issues regarding any payment made to us by credit card or any other means. All payments to us must be made in U.S. dollars unless we expressly agree otherwise in writing. The buyer is responsible for any currency costs incurred to make all payments to us in U.S. dollars regardless of the buyer’s home currency or payment method. The buyer consents to us paying commissions out of amounts received from the buyer to third parties assisting us to sell the property.

Taxes. Unless exempt by law, the buyer is respon-sible for paying all sales and use taxes, VAT, export, and/or import taxes and duties, and any other transactional taxes or levies related to the purchase of property by the buyer. The buyer is required to pay us for any taxes we are required to collect, but our failure to collect any taxes from the buyer will not relieve the buyer’s obliga-tion to pay them. Buyers claiming exemption from any tax are responsible for providing proper documentation. Any delay in obtaining or failure to obtain any relevant documentation or a refund of any tax will not justify

the cancellation of any sale or any delay in paying the Total Purchase Price by the Payment Deadline. Unless expressly otherwise indicated, all prices listed in this catalog or any other document pertaining to this sale are exclusive of taxes, and applicable taxes may be col-lected from the buyer in addition to any listed price.

Shipping and Handling. The buyer is required to pay all shipping, packing, and transit insurance fees and costs for purchased property. We may, but are not obligated to, provide support in the shipping process, including facilitating communication or payment between buyers and shippers. We may also recommend third-party service providers upon request. However, any such assistance or recommendations are for con-venience only and do not constitute or imply any repre-sentation, warranty or assumption of liability of any kind by us. We are not the agent of any buyer or third party in connection with the shipping, packing or handling of any property. We do not control and are not liable or responsible for the acts, omissions or policies of any third party in connection with the shipping, packing or handling of any property, whether or not recommended by us. Unless we specifically agree otherwise in writing with respect to certain property, we have no responsibil-ity for the delivery of any purchased property.

Remedies for Non-Payment. If the buyer for any reason does not pay the Total Purchase Price with respect to any property by the Payment Deadline, the buyer irrevocably authorizes us, at our option, to charge any outstanding portion of the Total Purchase Price to any credit card the buyer has provided us, whether or not the buyer provided such credit card to us in connec-tion with the sale at issue. If the buyer for any reason cancels any payment made by credit card or any other means, or otherwise fails to pay the Total Purchase Price with respect to any property by the Payment Deadline, the buyer will be in default (“Buyer Default”) and will be liable for payment of the Total Purchase Price and any other applicable charges. In the event of Buyer Default with respect to any property, without limiting any other rights or remedies available to us (whether at law, in equity or under these Conditions), subject to the New York Uniform Commercial Code, we may elect to cancel the sale of such property to the defaulting buyer and resell such property publicly or privately on terms we think fit, and the defaulting buyer will be liable for payment of any deficiency between the resale price obtained by us and the purchase price originally owed by the defaulting buyer. In any case, the defaulting buyer will be liable to us for any and all costs, expenses (including but not limited to reasonable attorneys’ fees), and damages of whatever kind incurred in connection with the buyer’s default, the collection of any amounts due from the defaulting buyer, and/or (if applicable) the resale of the property at issue.

4. EXPORT AND IMPORT LICENSES AND OTHER RESTRICTIONSProspective buyers are advised that: (i) some countries may prohibit or require a license or permit in order to export or import some property, including but not lim-ited to property containing material from endangered or other protected plant or animal species; (ii) cross-border deliveries are subject to opening and inspection by customs authorities; (iii) the laws of some countries may prohibit the resale of some property once it is imported into those countries; and (iv) some countries may reserve the right to purchase some property exported from those countries (sometimes called a “right of preemption”). None of SculptureCenter and our officers, directors, consultants, agents, and employees (collectively “the SculptureCenter Parties”) make any representations or warranties as to whether any property is or is not subject to any such laws or restrictions. It is solely the buyer’s responsibility to determine and obtain at its own cost any necessary export and/or import licenses and other required permits for, the purchased property. Unless the buyer and SculptureCenter agree otherwise, a delay in obtaining or failure to obtain any required license or permit will not justify the

cancellation of any sale or any delay in paying the Total Purchase Price with respect to any property. None of the SculptureCenter Parties will be liable for any damage or loss resulting directly or indirectly from any confisca-tion of purchased property, transportation restriction, or other action taken by any government or public authority.

5. “AS IS”ALL PROPERTY SOLD VIA THE SALE IS SOLD “AS IS” WITHOUT ANY EXPRESS OR IMPLIED WARRANTIES, AND NONE OF THE SCULPTURECENTER PARTIES MAKES ANY REPRESENTATIONS OR WARRANTIES OR ASSUMES ANY LIABILITY OF ANY KIND WITH REGARD TO THE MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, DESCRIPTION, SIZE, QUALITY, CONDITION, ATTRIBUTION, AUTHENTICITY, RARITY, IMPORTANCE, MEDIUM, PROVENANCE, EXHIBITION HISTORY, LITERATURE OR HISTORICAL RELEVANCE OF ANY SUCH PROPERTY, AND NO STATEMENT ANYWHERE, WHETHER ORAL OR WRITTEN, WHETHER MADE IN THE SALE, IN A BILL OF SALE, AN ADVERTISEMENT, ANY OTHER SUPPLEMENTAL MATERIALS OR ELSEWHERE, WILL BE DEEMED SUCH A REPRESENTATION, WARRANTY OR ASSUMPTION OF LIABILITY. THE SCULPTURECENTER PARTIES MAKE NO REPRESENTATIONS OR WARRANTIES AS TO WHETHER THE BUYER WILL ACQUIRE ANY REPRODUCTION RIGHTS OR OTHER INTELLECTUAL PROPERTY RIGHTS IN ANY PROPERTY SOLD OR WHETHER ANY ARTWORK SOLD IS SUBJECT TO ANY ARTIST’S MORAL RIGHTS OR RESIDUAL RIGHTS. THE SCULPTURECENTER PARTIES WILL NOT BE RESPONSIBLE FOR ANY ERRORS OR OMISSIONS IN THE SALE OR IN ANY SUPPLEMENTAL MATERIALS. ALL PROPERTY SOLD THROUGH THE SALE IS FINAL SALE AND IS NOT RETURNABLE.

6. COPYRIGHTThe donor retains copyright to the work. Permission for any reproduction should be requested and approved in writing in advance.

7. CHOICE OF LAW AND VENUEThese Conditions, and the rights and obligations of the parties under these Conditions, will be governed by and construed in accordance with the laws of the State of New York and, to the extent applicable, the laws of the United States, excluding any conflict of laws or principles.

8. MISCELLANEOUSThese Conditions, together with any other applicable terms and conditions made available through the sale, constitute all of the terms and conditions on which you may purchase a property through the sale. If any provision of these Conditions is found by a court of competent jurisdiction to be invalid or unenforceable for any reason, that provision will be enforced to the maximum extent permissible, and these Conditions will otherwise remain in full force and effect. No delay or failure by us to exercise or enforce any right or provision of these Conditions will be deemed a waiver of that or any other right or provision. We will not be deemed to have waived any right or remedy under these Conditions unless the waiver is in writing and signed by a SculptureCenter representative who intends and is duly authorized to agree to such waiver on our behalf. No single or partial exercise by us of any right or remedy under these Conditions will prevent any further exercise by us of any other right or remedy. These Conditions are binding on the successors and assigns of each buyer, but no buyer may assign these Conditions or any right or obligation under these Conditions without express prior written consent from us. These Conditions will inure to the benefit of our successors and assigns. There are no third-party beneficiaries to these Conditions except as expressly otherwise provided in these Conditions. Dated: January 23, 2015

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Building SculptureCenter Benefit ExhibitionFebruary 3–February 5,2015

Sales InquiriesBen Whinebwhine@sculpture-center.orgtel 718.361.1750 x117cel 917.669.9629

SculptureCenter 44-19 Purves Street Long Island City, NY 11101 t 718 .361.1750 f 718 .786.9336 sculpture-center.org

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