Carl Andre, Polly Apfelbaum, Louise Bourgeois, Tony Feher, Peter Fischli and David Weiss, Tom Friedman, Katharina Fritsch, Felix Gonzalez-Torres, Roni Horn, Donald Judd, Rei Naito, and Cornelia Parker
February 22 – March 22, 2003
Opening Reception: Saturday, February 22, 6-8pm
“Stacking is a basic and primal activity. You put children in a room with some things, and they stack them on top of each other. It’s something that humans do.” – Tony Feher, interview with Adam Weinberg, 2001
D’Amelio Terras is pleased to present Stacked, its seventh annual curated group exhibition. The artists in this exhibition represent a variety of generations and employ strikingly different approaches with regard to both material and subject. Yet here they share a practice of stacking elements and objects to create artworks.
Donald Judd’s classic ten-unit vertical “stack”—repeating positive and negative six-inch spaces—implies a continuity of form that extends beyond the sculpture itself and represents the essence of his mantra ‘one thing after another.’ Carl Andre’s Sulcus, comprised of orthogonally stacked timbers, exemplifies the artist’s central premise that “rather than cut into the material, I now use the material as the cut into space.”
Katharina Fritsch is represented by Display Stand with Vases (1987/89/2001), a large-scale, carefully stacked pyramid of 145 commercially-produced vases designed by the artist. Felix Gonzalez-Torres “Untitled” (Republican Years), 1992, a work of stacked individual sheets of paper —free for the taking like leaflets or flyers—breaks open the traditional definition of ‘public’ sculpture. Ohne Titel (1984), an early photograph by Peter Fischli and David Weiss, uses the sculptural energy produced by precariously balanced household objects in the service of a dynamic photographic composition.
Enigma Machine (1993-95) by Polly Apfelbaum is evidence of a developmental stage for the artist when “…stacking and folding were important in going from two to three dimensions, allowing works to open and close.” Louise Bourgeois’ Untitled (1953) is a totemic stack of bronze casts of irregular wooden pieces that humorously underlines the phallic connotations of verticality in sculpture.