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For Another

September 10, 2016 – October 15, 2016
For Another

“For Another” presents works by four artists, all exploring notions of the “surrogate”.

Allen Ruppersberg’s “Siste Viator” was conceived for the Sonsbeek International Sculpture Exhibition, held in Arnhem, The Netherlands (the site of one of World War II’s most important battles).  Intended as a “literary memorial” to British, Dutch, Polish, and German war casualties, Siste Viator features reprints of books and book covers that could have been read by those killed in battle.  For each language, one book was reproduced entirely, while the other copies contain blank pages only.  The artist inserted ex libris bookplates naming individual casualties.

Allan McCollum’s “Collection of Five Plaster Surrogates” is a quintessential example of the work for which McCollum gained widespread recognition.  The five elements were each made from a mold and hand painted, yet created, at the time, as part of an ongoing project of semi-mass production.  Part of McCollum’s interest is in the context in which paintings are shown and the idea of a painting being part of a diverse group of objects considered collectibles.  Applying strategies of mass production to handmade objects, he has spent nearly 50 years exploring how works of art achieve personal and public meaning in a world largely constituted within the manners of industrial production.

Liliana Porter’s “Forced Labor (To Go Back / Black)” uses found objects – a commercially available shelf, a creamer with a picturesque scene of a quaint house surrounded by flora, and a small figurine.  The artist’s actions consisted of combining the elements and drawing the lines of the “path” on which the figurine “walks” back to the “house”.  Utilizing creative license, a hefty dose of imagination and humor, and a good understanding of perspective, Porter creates a scene that is fully legible.  What is most powerful is that these simple means imbue the scenario with an immense amount of emotion – sympathy, empathy, pathos, relief and more.

Claes Oldenburg’s “Wedding Souvenir” was commissioned for the wedding of Jim and Judith Elliot, on April 23, 1966, in Topanga Canyon, California, in an unnumbered edition of approximately 8 cakes, each cake composed of 18 slices.  Each place setting had a slice and the head tables had full cakes.  Forever celebrating a celebration, the plaster cake slice is instantly recognizable and elegant, yet forever frozen – a symbol (a plaster cast) of a symbol (wedding cake as celebratory object).

Works In Exhibition

Exhibition View

Exhibition View

Claes Oldenburg and Allen Ruppersberg

Wedding Souvenir (for the wedding of Jim and Judith Elliott in Topanga Canyon, California, April 23)

Claes Oldenburg Wedding Souvenir (for the wedding of Jim and Judith Elliott in Topanga Canyon, California, April 23) 1966 Cast plaster and white paint

from a series of approximately 200
5 1/2 x 6 1/2 x 2 1/4 inches  (14 x 16.5 x 5.7 cm)
(Inventory #27603)

Siste Viator (Stop Traveler)

Allen Ruppersberg Siste Viator (Stop Traveler) 1993 Each book: inscribed with a WWII soldier's name; Bookends, twenty facsimile books and shelf, in twenty-three parts

Overall size:  18 7/8 x 39 3/8 x 6 5/8 inches  (47.9 x 100 x 16.8 cm)
Edition of 50
(Inventory #27442)

 

 

Exhibition View

Exhibition View

Claes Oldenburg and Allan McCollum

Collection of Five Plaster Surrogates

Allan McCollum Collection of Five Plaster Surrogates 1987 Enamel on cast Hydrostone

Dimensions Variable
This installation: 20 x 74 3/4 inches  (51 x 190 cm)
Each signed “Allan McCollum 1987” and numbered sequentially on the reverse
(Inventory #27571)

Forced Labor (To go Back / Black)

Liliana Porter Forced Labor (To go Back / Black) 2009 Wooden shelf, resin figurine and ceramic

Signed, titled and dated on the underside of the shelf
9 3/4 x 10 1/4 x 42 7/8 inches (25 x 26 x 109 cm)
(Inventory #23368)

View Larger Image Forced Labor (To go Back / Black)