We are honored that three of the artists from our Highly Recommended: Emerging Sculptors ArtPrize exhibition have been chosen as finalists in the three-dimensional work category by juror Shamim Momin, director of Los Angeles Nomadic Division.
If you have already viewed our ArtPrize exhibition, you might already be familiar with these works. Please consider a second visit to enjoy a closer look at the 16 works that make up Highly Recommended: Emerging Sculptors. If you haven’t yet been, we invite you to come check out this unique collection of artists. ArtPrize ends on October 12, but Highly Recommended: Emerging Sculptors will be on display through January 4, 2015.
Alisha Wessler’s From Afar It Is an Island is located in the Snell Gallery. Composed of more than 100 individual objects, Wessler’s work explores the avenue of possibilities of sculpture through installation. Rather than creating a singular, large-scale piece as the focus of the viewer’s experience, she offers the opportunity to explore dozens of objects as one might encounter them in a museum environment filled with display cases. Each of Wessler’s objects merit consideration in its own right but the sum total of the entire installation creates a profound experience as if encountering remnants of another culture or historical event.
Wessler adds “From Afar It Is an Island pays tribute to designer Bruno Munari’s book of the same title, which explores perception of and possibilities with small objects. ‘Stones are like small worlds,’ reads a caption accompanying a crisp black and white photograph of a stone resembling a speckled planet, ‘If you look at them well, you discover many things: images, stories, strange markings.'”
Wessler holds a BFA from the School of the Art Institute of Chicago and a MFA from the University of Michigan Stamps School of Art & Design. She has exhibited nationally and internationally, including Johansson Projects, Oakland, California; MeetFactory, Prague, Czech Republic; Claire Morris Gallery, Ireland; Blütenweiss, Berlin, Germany; G2, Chicago; Gowanus Studio Space, Brooklyn; and the Kelsey Museum of Archaeology, Ann Arbor. She lives and works in New York City.
Vote for From Afar It Is an Island by using the Vote Code 56457.
Loris Cecchini’s Wallwave vibration (anatomy of a diagram) is installed in the Balk Gallery. Although work in relief has been a significant to the history of sculpture since the beginning of time, it is infrequently encountered today. Because of its relationship to a wall or façade, relief sculpture is in dialogue with architecture. Here, the artist has created a “tattoo in relief” which appears as a part of the very fabric, or skin, of the wall. Architecture relies on the logic of geometry—primarily linear and planar elements—yet here the artist utilizes the geometry of the sphere in a roughly circular composition. As a result, the sculpture seems to pulsate or vibrate from behind the surface of the wall.
Cecchini states: “In my most recent sculptures, the Wallwave Vibrations series, one loses the element of the object proper. The concern for alteration is concerned more particularly with the physical manifestation of the vibrations, expressed each time with different frequencies and intensities, wherein the visual pattern becomes “echo” of a phenomenon like a succession of waves on a liquid surface. In this direction it is as if the architecture, or a portion of it, is modified by the relationship between the sculpture and the wall.”
Born in Milan, the artist lives and works in Berlin. He has a vast repertoire that, in addition to sculpture, includes photography, drawing and installation work. Regardless of medium, the artist’s overarching concern is for transformation. Cecchini has exhibited internationally including at the Palais de Tokyo and the Museé de Art Moderne, Paris, and MOMA’s PS1 in Brooklyn.
Vote for Wallwave vibration (anatomy of a diagram) by using the Vote Code 57136.
Osman Khan’s House engages the entire Michigan National Gallery. This work is composed of tubular fluorescent lights that form the framework of a house as a way to discuss the brightness but also the fragility of the American dream.
Osman Khan is an artist interested in constructing artifacts and experiences for social criticism and aesthetic expression. His work plays and subverts the materiality behind themes of identity, communication, economics and public space through participatory and performative installations and site-specific interventions. House is a full-scale gallery installation that references a traditional home but in decidedly minimalist terms. Experiencing the work calls the viewer’s attention to the ideas of the house as an object and form, but more profoundly to a myriad of concepts—from the personal to the communal, the social to the psychological—we each carry about a house, and by extension, home.
Khan was born in Pakistan and grew up in New York City. He received a Bachelor of Science in Mechanical Engineering from Columbia University in New York in 1995. He served as Creative Director for Elliance, a Web development company, until 2002. He completed his MFA at UCLA’s Department of Design, Media Arts, in 2004. He joined the faculty of the School of Art & Design at the University of Michigan as an Assistant Professor in the fall of 2009, where his teaching focuses on sculpture and installation, computational mediums and social practices. He was previously a Visiting Assistant Professor in the School of Art at Carnegie Mellon University.
His work has been shown at Shanghai Biennale, Shanghai, China; ZeroOne Festival, San Jose, California; Museum of Contemporary Art, Detroit; L.A. Louver, Los Angeles; Witte de With, Centre for Contemporary Art, Rotterdam, Netherlands; Ars Electronica Center, Linz, Austria; O.K Center for Contemporary Art, Linz, Austria; Socrates Sculpture Park, New York City; SIGGRAPH, San Diego, California; Bank, Los Angeles; telic, Los Angeles. He is a recipient of an Art Matters grant, Ars Electronica’s Prix Ars Award of Distinction and The Arctic Circle 2009 Residency. Articles about his work have appeared in Artforum, Artweek, Art Review, I.D., LA Times, The Wall Street Journal and Artnet.
Vote for House by using the Vote Code 56655.