Willie Cole, Alexander and Bonin, NYC - New Sculpture

Willie Cole: New Sculpture

Alexander and Bonin, New York

September 27 - November 8, 1997

Alexander and Bonin presents its inaugural exhibition at 132 Tenth Avenue (between 18th and 19th Streets) in New York.

WILLIE COLE (American, born 1955) have his first New York exhibition since 1994. Willie Cole exhibits recent sculptures which continue several of his intersets and themes. Some of these works are based on the form of an iron -- an image which he began investigationg in 1989. Willie Cole was first attracted to the iron for both its form and for its perceived embodiment of the spirit of the person who used the iron. The earliest versions, which he referred to as Household Gods and Domestic Demons, dealt with these ideas by utilizing found objects. More recently, Willie Cole has been constructing enlarged versions (i.e. an iron 600 times actual size) made from diverse materials both found (banisters, pullies) and constructed or carved (two egg 'beaters' that resemble African sculpture and which were carved out of two large sections of porch post).

Since his last New York show, Willie Cole has been an artist-in-residence at Pilchuck Glass School, Seattle; The Contemporary, Baltimore and Capp Street Project, San Francisco. His work is currently featured in the group exhibitions Biennial for Public Art, Neuberger Museum, Purchase and Performance Anxiety organized by MCA, Chicago and now on view at Museum of Contemporary Art, San Diego.

Willie Cole's Sculptures are included in permanent museum collections in Chicago, Dallas, Newark, New York, Philadelphia, Saint Louis and Stanford. Simultaneous with his show at Alexander and Bonin is his first one-person exhibition in Europe at the Galerie Almine Rech, Paris.

ALEXANDER AND BONIN

132 Tenth Avenue, New York, NY 10011

www.alexanderandbonin.com

Thomas Moran Exhibition at National Gallery of Art, Washington

Thomas Moran 

National Gallery of Art, Washington 

September 28, 1997 - January 11, 1998 

The first retrospective of paintings by THOMAS MORAN (1837-1926), long recognized as one of America's foremost landscape artists, is on view at the National Gallery of Art. The exhibition features approximately 100 of Thomas Moran's finest watercolors and oil paintings, which provided Americans with breathtaking views of the American West, including the first images of Yellowstone. Viewers can see a selection of Thomas Moran's paintings of Yellowstone that inspired Congress to establish the first national park in the United States. The Thomas Moran exhibition coincides with the 125th anniversary celebration of the creation of Yellowstone National Park. Also included in the exhibition is the painting, The Three Tetons, which hangs in the Oval Office of the White House.

The Thomas Moran exhibition is being organized by the National Gallery of Art, in association with the Gilcrease Museum, Tulsa, Oklahoma, which holds the largest collection of works by Thomas Moran. After its showing in Washington, the exhibition will be at the Gilcrease Museum, February 8 - May 10, 1998, and the Seattle Art Museum, Seattle, Washington, June 11 - August 30, 1998.

In the period of renewal following the Civil War, the government sponsored survey teams to explore and map the vast resources of the American West. Thomas Moran's original watercolors, completed on the first survey expedition to Yellowstone in 1871, are being lent by the National Park Service as part of its anniversary celebration. They are installed with photographs by the noted photographer William Henry Jackson who traveled with Thomas Moran on the historic expedition.

Thomas Moran's watercolors of Yellowstone played a decisive role in the creation of the first national park in the United States just a few months after being seen by the public and the U.S. Congress. Thomas Moran subsequently rose to national prominence when his first great painting of the American West, The Grand Canyon of the Yellowstone (1872), with its vast, spectacular landscape, was purchased by Congress to hang in the U.S. Capitol.

The exhibition includes Thomas Moran's three most famous oil paintings, hung together for the first time as the western triptych he intended: Grand Canyon of the Yellowstone (1872) and Chasm of the Colorado (1873 - 1874) from the Department of the Interior, and Mountain of the Holy Cross (1875) from the Autry Museum of Western Heritage, Los Angeles.

While Thomas Moran's great Western paintings form the heart of the exhibition, visitors also have an opportunity to see his rarely exhibited Italian, English, and Mexican scenes, as well as his little known Pre-Raphaelite-style landscapes of the eastern United States.

In addition to loans from private collectors, public lenders to the exhibition include the Gilcrease Museum; The White House; the National Park Service; the Smithsonian Institution; the Buffalo Bill Historical Center, Cody, Wyoming; the Museum of Western Art, Denver; the Nelson-Atkins Museum of Art, Kansas City, Missouri; The Metropolitan Museum of Art, New York; the Art Institute of Chicago; the North Carolina Museum of Art, Raleigh; the Detroit Institute of Arts; Berea College, Berea, Kentucky; the Union Pacific Museum Collection, Omaha; the National Archives, Washington, D.C.; and the Museum of Fine Arts, Boston.

Accompanying the exhibition is a comprehensive, fully illustrated catalogue with contributions from Nancy Anderson, associate curator of American and British paintings, National Gallery of Art, along with other leading Thomas Moran scholars including Anne Morand, curator of art, Gilcrease Museum; Joni Kinsey, professor of art history, University of Iowa; and Thomas Bruhn, acting director, Benton Museum, University of Connecticut, Storrs. The catalogue, published by the National Gallery of Art in association with Yale University Press, is the first extensive, scholarly work on Thomas Moran. It includes an illustrated chronology, color plates of every painting in the exhibition, and appendices of rare Moran documents available in part for the first time. One of the appendices includes illustrations of the series of chromolithographs that Thomas Moran did for Louis Prang in 1876, widely recognized as the finest chromolithographs done in nineteenth-century America. For the first time these are reproduced in color together with original text.

NATIONAL GALLERY OF ART

Fourth Street at Constitution Avenue, N.W., Washington, DC 20565

www.nga.gov

Willy Ronis Retrospective, Galleria Carla Sozzani, Milan

WILLY RONIS - Retrospective 1926-1983
Galleria Carla Sozzani, Milan
13 September - 31 November 1997

“Geometries modulated by the heart” produced “during free excursions, with no specific goal, on the edge of chance”.

This is the story in images (149) of Willy Ronis, photographer and poet, sentimental walker from the Thirties to the Eighties, whose photographs, the product of an unconscious process, approach “automatic writing”.

Affected by events in history in his time – he was born in 1910 – and the changes and upheavals resulting from the popular front, and then war, Ronis always maintains a modest distance from man and his environment in order to find a poetry that is not immediately apparent.

He comments: “This activity involves a lot of risk, not physical risk – for I rarely cover distant places – but risk of failure.

While on some days subjects are served up to us as if on a plate, on other days we don’t see anything, not because there is nothing to see, but because we do not see what is clearly there. This is why the enterprises is rarely fun; it demands concentration, and therefore solitude, and is, at least as far as I am concerned, founded on rejection of the picturesque, the exceptional”.

A humanist photographer and a “polygraph”, as he liked to call himself, Willy Ronis worked in a variety of different areas: reporting, illustration, fashion, teaching, and was involved in many image-related professions.

In this exhibition focusing on people, he portrays a variety of subjects: Paris in the ’40s and its post-war people; nudes and public scenes; children’s games and young brides and grooms; Marie-Anne, the love of his whole life, and famous people (Sartre, Picasso, etc…). His snapshots are tender, funny or serious, expressing his bewildered search for communion with human beings. “Where does it fit in, the search, the truth? In the familiar, the universal dimension. Not in that which surprises us, but in that which moves us”.

Galleria Carla Sozzani
Corso Como 10 – 20154 Milano, Italia
www.galleriacarlasozzani.org

Richard Serra at Dia Center for the Arts, New York

Richard Serra: "Torqued Ellipses"
Dia Center for the Arts, New York
September 25, 1997 - June 14, 1998

Dia Center for the Arts presents an exhibition of new sculpture by the American artist RICHARD SERRA. Titled "Torqued Ellipses," this exhibition will mark the debut of Dia's second exhibition building for temporary exhibitions, at 545 West 22nd Street, located directly across the street from its current facility at 548 West 22nd Street, New York City.

The Torqued Ellipses mark a new departure in Richard Serra's oeuvre, one which involves bending steel in a totally unprecedented manner. Four years ago, Serra conceived this group of approximately twenty sculptures in the form of lead models. A CATIA computer program was developed from the models to enable a rolling machine to torque the steel plates. After a protracted search, Serra finally located Beth Ship, a shipyard and rolling mill at Sparrow's Point outside Baltimore, which was willing to undertake the project. To date, four sculptures from this series have been realized, three of which will be on view at Dia this fall.

As Mark Taylor writes in his essay for the catalogue that will accompany the exhibition:

The effect of these works is extraordinary. Though made of heavy industrial materials and massive in size, they have the delicacy of finely folded ribbon or even paper twisted to form a Möbius strip that never quite reaches closure. As one moves from outside to inside by passing through the gap in these works, everything shifts. Lines that appear straight on the outside bend and buckle on the inside; arcs that seem to tilt away when viewed from without bend inward to enfold subject in object when experienced from within. As twisted space surrounds or even circulates through the perceptive body, the space and time of the work of art become utterly destabilizing and disorienting.

Born in San Francisco in 1939, RICHARD SERRA has a longstanding engagement with steel. After financing his college degree by working in steel mills, Serra adopted steel as his preferred material in the late sixties: he has continued to use it in different ways, propped, bent, forged, and rolled for over three decades.

Since his first solo show in Rome in 1966, Richard Serra has had numerous exhibitions throughout the world, including a 1986 retrospective at the Museum of Modern Art, New York. In addition, he has created a number of seminal site-specific sculptures in public venues in both North America and Europe. Most recently, as his contribution to the current Sculpture Projects in Münster, Germany, Serra was commissioned to make a permanent installation at one of that city's most renowned historic buildings, the Haus Rüschhaus designed by the Baroque architect J.C. Schlaun. Serra recently installed Snake, a 100-feet-long, 13-feet-high sculpture commissioned by the Guggenheim's new museum in Bilbao. In the fall of 1998, he will open an exhibition of large-scale installations at the Geffen Contemporary at the Museum of Contemporary Art, Los Angeles.

Dia Center for the Arts
www.diacenter.org

Sensation - Young British Artists from the Saatchi Collection, Royal Academy of Arts, London

Sensation - Young British Artists from the Saatchi Collection

Royal Academy of Arts, London

18 September - 28 December 1997

The achievements of a generation of young British artists whose original and challenging work has received international acclaim are the focus of this major exhibition. Entitled Sensation, the show presents work by artists selected from The Saatchi Collection. As well as highlighting the vitality and inventiveness of current British art, the exhibition also demonstrates the commitment that Charles Saatchi has shown in collecting the work of these young artists.

This recent explosion of creativity and excitement in the visual arts has not been seen since the emergence of Pop Art in the early 1960s. This current phenomenon was originally identified in the late 1980s through exhibitions in the east end of London, most notably Freeze and Modern Medicine. These exhibitions were organised by a group of young artists who, having just graduated from art school, sought venues that lay outside the traditional institutions of the art world in order to show their work. Since then the energy and ingenuity that many artists have shown in promoting their own work has been one of the factors of their success.

The individuality of their work makes it impossible to brand this generation of young artists as a movement, even though many of the artists know and support each other. By showing their work together, which ranges in media from paintings and sculpture to video, photography and ready-made objects, it is possible to appreciate the interaction and shared concerns of their work which can, in turn, be exuberantly humorous or brutally forthright.

The artists represented in Sensation are: Darren Almond, Richard Billingham, Glenn Brown, Simon Callery, Jake & Dinos Chapman, Adam Chodzko, Mat Collishaw, Keith Coventry, Peter Davies, Tracey Emin, Paul Finnegan, Mark Francis, Alex Hartley, Marcus Harvey, Mona Hatoum, Damien Hirst, Gary Hume, Michael Landy, Abigail Lane, Langlands & Bell, Sarah Lucas, Martin Maloney, Jason Martin, Alain Miller, Ron Mueck, Chris Ofili, Jonathan Parsons, Richard Patterson, Simon Patterson, Hadrian Pigott, Marc Quinn, Fiona Rae, James Rielly, Jenny Saville, Yinka Shonibare, Jane Simpson, Sam Taylor-Wood, Gavin Turk, Mark Wallinger, Gillian Wearing, Rachel Whiteread and Cerith Wyn Evans.

CATALOGUE

The catalogue accompanying the exhibition examines the rise of these young British artists and places their work in a historical and critical context. Norman Rosenthal, Exhibitions Secretary at the Royal Academy, writes an introduction to the exhibition, Richard Shone charts the story over the past 10 years from the Freeze exhibition to Rachel Whiteread's 'House' and Lisa Jardine looks at the role of the collector in the twentieth century. Martin Maloney focuses on the works in the exhibition and Brooks Adams examines the work of the young British artists from an international perspective. The catalogue has over 180 illustrations including photographs of the artists by Johnnie Shand Kydd. Published by Thames & Hudson, the catalogue will be available both in softback (£21.95 and £19.95 for Friends) from the Royal Academy during the exhibition and in hardback from shops nationwide.

ROYAL ACADEMY OF ARTS

Burlington House, Piccadilly, London W1V 0DS

www.royalacademy.org.uk

Durst Lambda 76 - Medium Format Digital Laser Imager

Durst Lambda 76 

Medium Format Digital Laser Imager 

DURST LAMBDA 76

© Durst Phototechnik AG

Durst Phototechnik AG, manufacturer of the first and most popular Large Format Digital Photo Printer with no size limitations, the Durst Lambda 130, is announcing deliveries of the 32" Lambda 76 to start by the end of 1997.

The Medium Format Digital Laser Imager Durst Lambda 76 exposes digital image and text data via laser directly onto photographic silver halide materials (color negative papers, color reversal papers and blacklit materials, etc.).It features a patented continuous roll to roll exposure with an automatic paper take-up device. The prints generated with the Durst Lambda 76 feature unsurpassed photographic quality.

The Lambda 76 is the perfect device for portrait and people as well as commercial photo labs for doing high volume of small and medium print sizes. The 81.2 cm/32" paper width makes the Lambda 76 ideal for printing pop-up displays with no print length limitations.

Durst Lambda 76: Key Features 

Direct to photographic media

- Straight from a digital file, the Durst Lambda can print any creation directly onto photographic media (reflective -> paper / backlit -> transparent or opaque film)

- It combines the advantages of classical silver halide photography with the potential of the latest laser and digital technology, without an intermediate film stage - and without the compromises of CMYK output.

- Because the receiving media is photgraphic paper, the color space is RGB, the same as any designer`s monitor.

- The photographic media is still the best when it comes to reproduce images combined with text and logos. It can reproduce the finest details, as it does not require any form of screening / dittering.

Total flexibility

No size limitations thanks to the unique, patented flatbed continuous roll to roll laser exposing system (for paper widths from 20.3 cm/8" to 81.2 cm /32"), from "icons" to large murals. (with auto- and custom paneling functions). One seamless print can be as long as one entire 81.2 cm/32" roll (50 m / 160ft))

High Image and Text Quality

Dual resolution of 200 and 400 ppi for superior image sharpness of small print sizes. The Lambda 76 features high color saturation and color fidelty, better image quality, more details and sharper type than other alternatives.

High Output Speed

Exposes all medias at a linear speed of 12"/min. Compared with other digital systems the Lambda is "remarkably faster" and can produce up to 270 prints 20x25 cm / 8x10" an hour.

High Productivity 

- Same as the Lambda 130 and unlike other large format digital photo printers, the Lambda 76 features a simultaneous exposure and paper transport, exposing a print size of 80 x 260 cm / 32 x 100" ready to process in less than 10 minutes.

- DEC-Alpha workstation with 64-Bit Digital UNIX Operating System for on-the-fly image processing and short ripping times (Cheetah-RIP by DICE America: 100 MB in approx. 1 Minute).

- Small prints are automatically printed side by side for fast multiple printing and optimal use of large paper widhts.

Open System: Exposes image and text files from major systems and application programs (PC,Mac and Workstations).

Supported File Formats:

     - RGB and Grayscale - TIFF /TIFF/LZW

     - RGB and Grayscale - JPEG

   - PostScript Level 2 (PS, inculding images in CMYK, RGB, EPS, JPEG, Grayscale etc.). with automatic conversion of CMYK to RGB during the ripping process.

The marketplace expects the highest in quality and short turn-around times. The Lambda 76 is the ultimate production machine and "work horse" providing high quality prints with neutral grays matching exactly from edge to edge, with text and edge sharpness far surpassing the ability of any enlarger, even if the original is from a high resolution film recorder. Panel color and consistency is unmatched.

Becasue of the high image quality and productivity and the total size flexibility, the Durst Lambda 76 will allow the commercial and portrait/people labs to increase their productivity with shorter turn-around times and less paper waste.

The Durst Lambda 76 is sold as a complete working system, including the imager, DEC- Alpha workstation with Lambda software, integrated Cheetah-RIP by Dice America, X-Rite densitometer, etc.

DURST PHOTOTECHNIK AG

www.durst-online.com

Updated Post

Marlborough new gallery in Chelsea, Manhattan's newest art district

MARLBOROUGH GALLERY, NEW YORK, 

TO OPEN A NEW GALLERY IN CHELSEA

Pierre Levai, Director of Marlborough Gallery, New York, has announced that Marlborough will open a gallery in Chelsea, Manhattan's newest art district, on September 18, 1997. The addition of Marlborough Chelsea marks the ninth venue for Marlborough, which, in addition to its 57th Street location in Manhattan, has galleries in London, Madrid, and Santiago, Chile, and offices in Buenos Aires, Hong Kong, Tokyo and Zurich.

Marlborough Gallery's program in Chelsea will include exhibitions of work by artists represented by Marlborough as well as exhibitions organized by independent curators that will feature artists represented by Marlborough in addition to other artists. Furthermore, Marlborough Chelsea will house the offices of International Public Art, Ltd. the independent corporation of Marlborough Gallery Inc. formed last fall, which-under the direction of Dale M. Lanzone, formerly Director of the United States Federal Government's public art program-is committed to the development of international public art projects, with an emphasis on the integration of art, architecture, and the urban and natural environments.

"Marlborough Chelsea provides an excellent opportunity for us to continue our commitment to an expanded international presence on behalf of our artists. Moreover, the new gallery will give us an alternate forum to mount exhibitions that are unique and separate from Marlborough Gallery's 57th Street program," stated Pierre Levai.

Located at 211 West 19th Street, Marlborough Chelsea is comprised of architectural elements characteristic of downtown exhibition spaces. The 4,000 square-foot, glass storefront-which has been designed by Mr. Lanzone in collaboration with architect Eli King-features 14 foot ceilings, a concrete floor and a central row of columns.

The Marlborough Chelsea inaugural exhibition, which will be on view September 18 through October 25, will feature large-scale sculpture by gallery artists Magdalena Abakanowicz and Sir Anthony Caro, as well as Louise Bourgeois. This is Anthony Caro's first exhibition with Marlborough since joining the gallery this month. Marlborough Chelsea, 211 West 19th Street, opens to the public Thursday, September 18th. 1997. Gallery hours are Tuesday to Saturday from 10:00 a.m. to 5:30 p.m. 

MARLBOROUGH GALLERY

www.marlboroughgallery.com

British sculptor Anthony Caro - Marlborough Gallery - The artist is represented by the gallery in the USA

BRITISH SCULPTOR SIR ANTHONY CARO 

REPRESENTED BY MARLBOROUGH GALLERY 

IN THE USA

Marlborough Gallery, New York, announces that renowned British sculptor Sir Anthony Caro has joined the gallery and will be represented by Marlborough throughout the United States.

Sir Anthony Caro was born in Surrey, England in 1924. He attended the Royal Academy in London and, during that time, served as assistant to sculptor Henry Moore. Throughout his career Sir Anthony has been a dedicated educator, holding teaching positions at St. Martin's School of Art in London and Bennington College in Vermont. In 1982, he founded the Triangle Artists' Workshop, an annual gathering of sculptors and painters in Pine Plains, New York. In 1987, he was knighted for his contribution to art. Sir Anthony Caro lives and works in London.

One of the most accomplished and respected sculptors working today, Sir Anthony's work is among the most innovative of the 20th century. He has been a driving force in contemporary sculpture, and as a teacher has inspired an entire generation of younger British sculptors including Barry Flannagan, Richard Long, William Tucker, Bruce McLean and Gilbert & George. His sculptural language has evolved over the years to include works in various materials ranging from steel in different forms such as I-beams and ship's buoys, to ceramic, bronze, silver, lead and wood. Sir Anthony is continuously reinventing his art by challenging his own perceptions of scale and exploring new means with which to express his artistic vision.

Sir Anthony Caro first came to the forefront of the British contemporary art scene in the early 1960s, when he began to produce abstract, welded steel sculpture, painted in bright colors. In 1966, Sir Anthony turned his attention toward small-scale steel forms. His best-known work of this period is a series called Table Pieces. Unlike his large-scale steel sculptures which were set directly on the ground, these smaller-scale sculptures rested on table tops, making the table itself an integral part of the work. In the 1970s, he began to examine sculpture on a monumental scale and abandoned his use of painted steel for materials such as raw, unfinished steel, iron, bronze and wood. In May 1970, while a critic for The New York Times, Hilton Kramer wrote of Sir Anthony: "He is unquestionably the most important sculptor to come out of England since Henry Moore...One has the impression of an artist who, having totally mastered a new and difficult area of sculptural syntax, is now permitting himself a freer margin of lyric improvisation".

Since 1980, Sir Anthony has been predominantly interested in architecturally related sculpture. He was profoundly moved by a trip he made to Greece in 1985, in which he marveled at the relationship between the sculpture and architecture at such sites as the Parthenon, Delphi, Mycenae and Olympia. In 1987, he executed a series of works inspired by Greek pedimental sculpture, including After Olympia, a monumental work inspired by the west pediment of the Temple of Zeus. In the 1980s, Sir Anthony's interest shifted toward what he calls "sculpitecture", or works that examine the relationship and create a dialogue between architecture and sculpture. In more recent years, he has collaborated with numerous architects such as: Frank Gehry, with whom he realized the 1978 Architectural Village, a network of freely constructed wooden forms and linking walkways; and Sir Norman Foster, with whom he helped produce a winning entry for the 1996 Millennium Bridge Design competition for the first footbridge to be built over the river Thames in more than a century.

In a 1995 interview with Robert Hopper, Sir Anthony stated: "One thing that I like about the nineties is that possibilities are broader for me than they have been. I can tackle things in a fresh way. And the way forward is not clear."

Among Sir Anthony Caro's innumerable one-man exhibitions in galleries and museums worldwide are a 1992 exhibition organized by The British Council and installed amid the ruins of the Trajan Markets in the ancient Roman Forum, and the largest retrospective of his work to date organized in 1995 by the Museum of Contemporary Art in Tokyo. His sculpture is represented in more than one hundred public collections worldwide including: Boston Museum of Fine Arts; Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC; Museum of Modern Art, New York; National Museum of Art, Osaka; Tate Gallery, London; and the Tel Aviv Museum, Israel.

Large-scale sculpture by Sir Anthony Caro will be included in the inaugural exhibition opening September 18 at Marlborough's new gallery in Chelsea at 211 West 19th Street, New York City. His work will also be featured in a solo exhibition at Marlborough Chelsea in the spring of 1998.

MARLBOROUGH GALLERY

www.marlboroughgallery.com

Abakanowicz, Bourgeois, Caro - Marlborough Chelsea, New York - Inaugural Exhibition

Abakanowicz, Bourgeois, Caro

Marlborough Chelsea, New York

September 18 - October 25, 1997

For its inaugural exhibition, Marlborough Chelsea, New York, presents sculptures by Magdalena Abakanowicz, Louise Bourgeois and Sir Anthony Caro. 

The gallery's inaugural exhibition presents one work each by Abakanowicz, Bourgeois and Caro. Each of these works through their physical and conceptual presence, commands and defines the gallery's architectural spaces, creating three interrelated but markedly different environments. These sculptures are of such independent and forceful character that they dominate their environments through the drama of a physical discourse that captures the viewer as if he or she had stumbled into a theater and onto a stage occupied by giants.

Magdalena Abakanowicz channels her deeply personal feelings about loss, isolation, displacement and regeneration as experienced throughout her childhood in Poland into her sculpture. Gouged and smooth bronze surfaces display the marks of the artist's fingers and nails; her work becomes an expressionist rendering in three-dimensional form of angst, aggression and strength. Rather than representing a single historical moment, group or tragedy, Magdalena Abakanowicz says that her work "is about the human condition in general". Backward Seated Figures (1992-93), comprised of 20 bronze forms, suggests a crowd of people seated on the floor, hunched over slightly. The air between each sculpture is heavy and fraught with tension; the installation creates a mood which fills the gallery and pushes at the walls, enveloping the viewer. The installation at Marlborough Chelsea will be the first showing of this piece in the United States.

A native of France, American sculptor Louise Bourgeois' work developed initially in the 1940s through her exposure to the Surrealists. Her later works reflect a continuing interest in feminism and forms related to the body. While many of her recent projects have explored and represented personal recollections of childhood memories and experiences through seemingly fragile and delicate forms, Eyes (1995), included in this exhibition, is monumentally forceful in both its physical and conceptual presence. The pair of massive granite spherical eyes with hemispherical irises captures everything that falls within their gaze. At the direction of  Louise Bourgeois, the eyes have been positioned at a distance apart to reflect the proportions of a monolithic face. The eyes are positioned to create a field of vision and depth of focus that extends beyond the walls of the gallery into the city - the sculpture is both a corporeal anchor and conceptual window.

British sculptor Sir Anthony Caro, who recently joined Marlborough for his North American representation, shapes mass and the spaces which his forms inhabit in a powerful yet carefully constructed way. His new work created specifically for this exhibition, Wareham Ziggurat (1997), rises over 12 feet high with its towering stepped shape. Ascending from floor to ceiling, the work forces one's attention upwards into the spaces that most sculpture does not reach. Because of the internal architectural "rooms" within the sculpture, the spectator is drawn inside and therefore deals with both external and internal notions of architectural form and space. The giant railroad sleepers from which the sculpture is made are stacked high like a vast pyramid, giving the work a physicality that is primal, ancient and mysteriously ritualistic in character.

Abakanowicz, Bourgeois, Caro will be followed by a group show curated by Raymond Foye, on view from November 1 through November 29, 1997. An exhibition of work by Spanish sculptor Francisco Leiro opens December 3, and will remain on view through January 3, 1998.

Marlborough Chelsea

211 West 19th Street, New York, NY

www.malgoroughgallery.com