art review; sculpture not meant to last forever - where can i buy mylar sheets
By the Netherlands.
1995 this is a digital version of an article from The Times Print Archive, before it starts online in 1996.
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Every summer, outdoor sculptures appear in New York, some like flowers in the garden and some as monotonous as weeds.
To a large extent, they are not public art in the grand tradition: they are huge and built to endure.
Instead, they gather at the edge, usually made up of short-lived things, and they are destined to last for a season and disappear with the arrival of cool weather.
This year's work was incomplete and some even withered ahead of time.
This month, a sculpture at Socrates Sculpture Park on Long Island, Queens collapsed in the heat.
The other is the sheet using reflective material, which has begun to become brittle on the edge of Roosevelt Island. And a tree-
The top work of Long Island University in Brooklyn, hitting the ball bravely in the breeze, has apparently seen better days.
But even the quick proximity of "selling by date" is part of the appeal of sculpture.
In the process of trying to put things that must be put down, there are some stupid and brave things --of-the-
Few but important other attractions and unexpected visitors are likely to go out of their way to visit.
It is this unrealistic spirit and the reward of good works that are occasionally inspired that make the outdoor sculpture journey worthwhile, even a pleasure.
Roosevelt Island's best performance this year is just around the corner. The worst site.
The exhibition, sponsored by the Roosevelt Island Sculpture Center, was commissioned into a cave-like covered concrete pit called a motorcycle gate parking lot.
It's hard to imagine a dankell and a darker venue.
At least three of the six participants this year are trying to warm up.
Heather Nicole's Pick Me is a pleated gown hanging from the glass ceiling --Enclosed atrium.
Mounted on a metal frame, illuminated from the inside (
They must look great at night)
They think that the splendor of Tiffany's lights and the ghosts of many pastel colors have-
Susman's river blindness also deals with light and brightness in different ways.
She transformed an old kiosk into an empty kiosk for a walk.
In Donald Jude's box.
By means of a reclined reflective Merah sheet system, she projects a blurry mirror image inside the sculpture, reflecting the choppy East river current. If Ms.
Matthew Geller's brothers and sisters: 70 years on the island introduces nature to the car Gate, providing a homely meal of personal history.
The sculpture consists of a series of 25 poured concrete boxes, each of which is about 5 inch square meters, hidden high and low in the corners and around the stairs.
Everyone has a very small picture of the story of the two inhabitants of Roosevelt Island.
In fact, these characters are fictional, but their presence brings a welcome intimacy to the site.
Socrates Sculpture Park is a summer in Socrates Sculpture Park. it is a camp with weeds and no shadows, just on the bridge on Roosevelt Island, Long Island.
So far, some of the original new works in this year's exhibition "Pop-
"I have been removed for one reason or another.
It's hard to improve the enthusiasm for the rest of the things that look shabby.
There are exceptions.
Michael Yuetong's large rusty Buddha head, composed of welded flat metal planes, is outstanding.
Based on the ancient Chinese model, this is a serious, classic balance image, although the small padlock door on its side reminds us that even the most tranquil icon is a product of the backStage machinery. Mr.
Tong has also done a lot of work elsewhere, and he is an artist worth watching.
The program's questionable pop art theme found an application in Karin Giusti's mechanized plastic clamshellstyle song (
I also like oysters and lobsters.
In Robbie Barber's recreational vehicle and a hybrid of the spaceship, in James Sadik's "big top, big block, big pool ball.
"But this is candy art, that's all.
Only Mark Di suvaro (
Founder of the park), Mr.
Tong's work and the frameric steel arch of Alberto Riano, titled "Andean throw", seems interested in meeting this great, rugged, Sky Challengefilled site.
The Imperial Fulton Ferry State Park is along the river, right next to the Brooklyn Bridge, and the Brooklyn waterfront Artists Union is holding an invitational exhibition called exposure and vulnerability, organized by Daniel George at Imperial Fulton Ferry State Park.
Most of the work is as sparkling as the title, but there are a few pieces that leave their mark.
One of James Calderwood's works is just a shabby padded armchair in a steel cage.
Comfortable home with drops-
The view of death in lower Manhattan is now neither touching nor dominated by elements.
Duane McDiarmid's how do we sleep is also interesting? ," a gold-leafed, house-
The shape is similar to the structure of the Japanese shrine, but it is actually a clever blanket --
The dispenser is available to anyone in need.
On this year's show, advertisements for houses and residences at Long Island University proved to be major.
They reproduced "six sculptors" in the courtyard of the Brooklyn campus of Long Island University in downtown Brooklyn, another Sculpture Center
An exhibition organized by Marianne Griffiths.
Two works including Helen Brandt's poetic rickshaw
The style bridge on the wheels, dated from 1980s;
The others were made for the show.
Itty Neuhaus's "Seance" consists of campers tents hanging on the 20 feet-foot-high pine forest floor.
The trunk runs through the center of the fabric structure, just as the trees grow to high overnight, lifting the sleeping man into the air.
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Veronica Ryan's my island has also attracted some interest, a solid structure made up of wire, milk bottle boxes;
In the remains of every childhood-
Toys and pacifiers-
Lying like an unlucky animal.
Michael grosusen's "indescribable" and its empty anonymity
It looks like a concrete house piled up waiting for shipment, which gives people a seemingly cold review of the concept that the House is not necessarily home.
The Snug Port Cultural Center also has houses on Staten Island, the Port g Cultural Center of Staten, they are true: a brilliant, seemingly eternal complexdecaying Neo-
Classical architecture built for retired sailors in the early last century, set in a mini
A paradise for lawns and gardens.
This year's problematic outdoor exhibition is part of a huge exhibition called "3D: female sculptors after 90 s" co-hosted by the new House Center for Contemporary Art and the New York chapter of the women's art caucus, charlotte skewer Rubinstein.
The indoor part installed in the center of Newhouse consists of two parts, and the first one ends on Sept.
17. the second opening in October. 29.
The quality of 19 outdoor works varies greatly.
The best is Donna Dennis's Cataract House (1993-94)A little white
Painted summer house with screen
Sitting on the porch, 10-foot-
After the flood, the artificial mountain as high as the Ark ran aground. Ms.
Dennis's work has the strange satisfying, somewhat surreal appeal of a perfectly styled miniatures, in which everything is right, which is wrong.
When people noticed that the wide cracks on the rocks under the house were stuffed with abandoned mattresses, the chaotic dreamy scenes in the works deepened, it reminds people of the problems of its abandonment and the fate of its tenants.
This summer, there are few other works that can remind people of the possibility of metaphor.
Gillian Jagger's threelegged "Rud" (1994)
Made of trunks and painted stripes, it is also powerful in a saturated colossus way.
The White cut shape of Grace Knowlton's "Untitled Table (1995)
It may have come from the early days of modernism, but it is tempting to suggest a faltering Angel, the winged moon dance by Helen Evans Ramsaran (1993)
Looks like a non-skeleton
West Nike gets off at the steps of a comfortable harbor facade.
But overall, the good news is over.
Too much work left seems to be mediocre, picky or unresolved, which is undoubtedly too late for the half of Ronda Roland Shearer
A dozen metaphors for family life and "women's work (1991-92)It looks fresh.
They surround the statue of Robert Richard Randall, the founder of Snug Harbor, as if laughing at his heroic integrity, but the joke is not worthy of their heavy involvement.
In contrast, advertising is easy to miss, but Perry Bud's "plot" is worth a look (1995). This glass-covered grave-
The big hole with two classroom tables, chairs and blackboards is an artist's response to a short but frustrating teaching job at a public school in New York City.
It's a bold shot. from-the-
Funky work, just melodramatic enough to put information on its potential opportunities.
In a survey of seasonal sculptures, Trinity Church Manhattan is hardly on the map, although there are pieces everywhere.
The Trinity Church on lower Broadway, sponsored by the art initiative, has Nade Halley and Thomas Cooney Crawford. Mr.
Harley is represented by a large, unattractive hollow plastic half
A ball, like a bowl waiting to be filled; Mr.
Crawford, made of a totem bronze, complements at least the Black Stone and rising lines of the church itself.
Otherwise, it is slim.
Corona ParkIn is completely from another category here-today, gone-
Tomorrow summer works are permanently installed in many sculptures throughout the city.
One of the most striking recent works is the stunning black granite pavement etching of Matt Mullikan, right outside the Queens Museum of Art, in front of unislav. Mr.
Mullican's work "no questions" (1994)
Commissioned by the Department of Cultural Affairs of New York City through its art percentage project (
When 1982 of the law stipulates that 1% of the budget for urban construction projects is used for art works).
It is traditional public art: big, formal, durable, grand, ambitious concept but easy to read. (
Its panel depicts two scenes of the New York World Expo, but also shows the sci-
This is the iconic image of the artist. )
The article just hints at the wealth of public and private financing indoor and outdoor works installed in New York parks, playgrounds, government buildings and schools.
A wide variety, often savvy and moving to adapt to their site and designed for the long term, they appear on site like little miracles, for another tour of another season, they are a rich theme.
Where to see the art (
Not too late)
Below is the information about the outdoor sculpture site mentioned in the attached review.
Free admission to all sites.
Manhattan's financial district is the courtyard of Broadway and Wall Street Trinity Church.
Nade Halley's forts and the winged Janus by Thomas Cooney Crawford, sponsored by the art initiative. Through Sept. 2. Daily, 8 A. M. to 3 P. M. ; until 4 P. M. on weekends.
Take the subway, take N, Q, R or No.
1 to Long Street or no. 4 or No.
Five trips to Wall StreetInformation: (212)406-4073.
Roosevelt Island Sculpture Center, high speed parking lot 688 Roosevelt island Main Street.
A collective sculpture showThrough Nov. 15.
24 hours a day.
Take the Roosevelt Island tram from the Second Avenue or take the subway to the Roosevelt Island station.
Drive the 36 Avenue bridge from Queens.
A bus goes along the main street;
The fare is 10 cents. Information: (212)879-3500.
Socrates Sculpture Park, Vernon Avenue and Long Island Broadway in Queens. "Pop-Up. " Through Sept. 15. Daily, 10 A. M. to sunset.
Take the subway to Broadway in Astoria and walk eight blocks west to reach the river. Information: (718)956-1819.
Colena Park, opposite the Queens Museum of Art, UniSoft.
"No questions" by Matt Mullican (1994)
Percentage of art projects sponsored by the Department of Cultural Affairs of New York City.
Watch Forever 24 hours a day.
Take the subway, take the subway.
To Shea Stadium-
The unislav Willets Point stopped and went.
Drive to Grand Central Park Avenue and follow the signs of the Queen's museum. Information: (212)841-4180.
Long Island University, Brooklyn, No. 1 University Square, is located on Flatbush Avenue, DeKalb Avenue, Downtown Brooklyn. "Six Sculptors. " Through Oct. 31.
Monday to Friday, 8 in the morningM. to 9 P. M. ; Saturdays, 8 A. M. to 6 P. M. ; closed Sundays.
Take the subway, take the subway.
2, 3, 4 or 5 to Nevins Street, two blocks walk to the corner of Flatbush and dikalb Avenue.
Or take M, Q, D, N, or R to dikalb Avenue. Information: (718)488-1051.
Imperial Fulton Ferry State Park, Fulton Ferry East River New Pier Street.
"Exposure and vulnerability" sponsored by the Brooklyn waterfront Artists Alliance ". Through Sept. 9. Daily, 8 A. M. to 8 P. M.
Take the subway, take A to High Street, take F to York Street or New York street.
2 or 3 minutes to Clark Street.
Take a ride from the Brooklyn Bridge to the exit of Cadman square and turn right to the East River;
The park is just north of the bridge. Information: (718)596-2507.
Port Stanig cultural center, Staten Island, 1000 Richmond Terrace, Livingston.
"Three dimensions: female sculptors after 90 s. " Through Sept. 17.
Every day, dawn to dusk.
Take the subway and ferry: Take the N or R train to the Whitehall station
1 to the Nandu wheel or number.
4 or 5 to Bowling Green;
The ferry to Staten Island runs every 30 minutes; the round-
The fare is 50 cents.
Take the S40 bus from the Ferry Terminal on Staten Island to the cultural center; bus fare is $1. 25 each way.
Ferry Information :(718)390-5253.
By car, vilasano-
Narrow Bridge at Bay Street exit;
Continue to the ferry terminal on Bay Street, which becomes the Richmond Terrace;
Continue to the Richmond Terrace Cultural Center.
$6 round trip. Information: (718)448-2500.
Art Review for weekend August.
At the port Snug Cultural Center on Staten Island, an outdoor sculpture was mistaken.
The work, made up of a white cut shape, is Ann Gillen's "single mother" and not Grace knowleton's "Untitled form" as it is on the map provided by the center
A version of this review was printed on page C00001 of the National edition on August 18, 1995 with the title: art review;
Sculpture is not always there.