© Glenn Harper
(Catalogue essay for the "Futur Skulpture" exhibition, juried by Glenn Harper for the McLean Project for the Arts in 2001)
When I was first asked to jury "Futur Skulpture," the image conjured up in my mind by the title was of a gallery filled with flickering monitors displaying virtual sculpture. But these 14 artists, chosen from 108 submisions, had a quite different notion: they fulfilled the polyglot premise of the title in a pluralism of ideas and materials: watercolor and oil paint are used as sculptural materials, as are coins, velveteen, wax, salt, concrete, and grocery bags—plus video, computer animation, and hypertext. These materials are not new in sculpture—many can be traced back to Post-Minimalism, and even digital and video art are hardly new entries in the "expanded field" of sculpture. But it is in the exuberant multiplicity of the works, in the attraction of sculptors to a wide variety of materials (and in particular to ephemeral and non-monumental materials), that the future can be seen.
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Futur Skulptur. Click the following link to see the overview of writings by Glenn Harper at artdesigncafe.com.
- Glenn Harper
- Washington, DC, United States
- I have been, among other things, a bookshop owner, counterintelligence agent, writer, art critic, and grad student (literature and art). One of my blogs includes some examples of my art writing, from the past decade, with some new pieces forthcoming. But my most frequent new posts are to my crime fiction blog, International Noir Fiction.