No M, No D, Only S & B: Around Liz Larner

    Thu, Feb 3, 2022, 1–2:30pm

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    Since the late 1980s, Liz Larner’s art has intervened into architectural space, vexed the disciplinary prerogatives of sculpture, contented with reality and illusion, and woven together distinct concerns for both materiality and visual perception. This program is named for a 1990 work included in the exhibition: No M, No D, Only S & B (standing for No Mom, No Dad, Only Sister & Brother). An early example of Larner’s interest in certain ideas of posthuman theory, the sculpture’s title nods to forms of reproduction (such as cellular fission) that complicate the primacy of patriarchal descent, parental influence, and generational legacy. In this spirit, the program includes artists who are and are not directly familiar with Larner’s work, but whose concerns intersect with and continue to explore the many fruitful provocations opened by her sculpture over the years.

    Join SculptureCenter for an afternoon of online talks with:

    Elaine Cameron-Weir lives and works in New York. Recently her work was the subject of an institutional solo show at the Henry Art Gallery, University of Washington (2021), and work of hers is currently on view at the University of California, Berkeley Art Museum as part of New Time: Art and Feminisms in the 21st Century. Select solo exhibitions include exhibit from a dripping personal collection, Dortmunder Kunstverein (2018); Outlooks: Elaine Cameron- Weir, Storm King Art Center, New York (2018); and viscera has questions about itself, New Museum, New York (2017). She has shown both in the U.S. and abroad, in group exhibitions at the Philadelphia Museum of Art; Remai Modern, Saskatoon; GAMeC, Bergamo; FUTURA, Prague; and has participated in the Montreal and Belgrade Biennials and the Fellbach Triennial. Her work is held in the collection of the Hammer Museum, Los Angeles; the Philadelphia Museum of Art; Walker Art Center, Minneapolis; Art Gallery of Ontario; the Benton Museum of Art at Pomona College, among others. Cameron-Weir was born in 1985 Red Deer, Alberta, Canada.

    Eric Wesley was born in Los Angeles, California in 1973, where he continues to live and work. Wesley’s work has been exhibited at Sculpture Center, New York; Museum of Contemporary Art Detroit; the Hammer Museum, Los Angeles; Musée d’Art Contemporain, Bordeaux, France; Fundación/Colección, Jumex, Mexico; Museo d’Arte, Benevento, Italy; The Prague Biennial; The Whitney Biennial, Whitney Museum of American Art, New York; The Institute of Contemporary Arts, London; P.S.1 Contemporary Art Center, New York; and the Studio Museum, Harlem, New York. In 2016 Wesley staged a yearlong solo exhibition at a former Taco Bell restaurant in Cahokia, Illinois, just outside of St. Louis, as part of the Bortolami Artist / City initiative. Wesley is included in public collections such as the Museum of Contemporary Art, Chicago; Hammer Museum, Los Angeles; The Studio Museum in Harlem, New York. With Piero Golia, Wesley also co-founded the Mountain School of Art (MSA) in Los Angeles, CA.

    Carmen Winant is an artist and the Roy Lichtenstein Chair of Studio Art at the Ohio State University; her work utilizes installation and collage strategies to examine feminist modes of survival and revolt. Winant's recent projects have been shown at the Museum of Modern Art, SculptureCenter, Wexner Center of the Arts, the Cleveland Museum of Art, The Museo Universitario Arte Contemporáneo, and as part of the CONTACT Photography Festival, which mounted twenty-six of her billboards across Canada. Winant's recent artist’s books include My Birth (2018) and Notes on Fundamental Joy (2019). She is a mother to her two sons, Carlo and Rafa, whom she shares with her partner Luke Stettner.

    Yu Ji is known for the diversity of her practice, working primarily in sculpture and installation, as well as performance and video. Her long-term interest has been in transforming ongoing investigations into specific spaces that become charged with geographical and historical narratives. She frequently conducts field research, and creates interventions through the vehicle of the body at different sites. Taking the unique materiality of things as a point of departure, and taking the sculptural as her primary form, Yu Ji has been developing her artistic language in relation to everyday life. Reflecting on and moderating the fragile presence of the human body in relation to objects found in their everyday environments, her performances often coincide with exhibitions of sculptural works, which turn the space of artistic presentation into a site for the production of labor. Yu Ji's work has recently been shown at Galerie Martin Janda in Vienna, Sadie Coles HQ in London, and Edouard Malingue in Shanghai. Institutional exhibitions include those at the New Museum Triennal in New York (2021), West Bund Museum + Pompidou in Shanghai (2021), Chisenhale Gallery in London (2021), UCCA in Beijing (2018), Tensta Konsthall in Stockholm (2018), Rock Bund Art Museum in Shanghai (2017), Palais de Tokyo in Paris (2014), and Times Museum in Guangzhou (2014). Yu has exhibited at the 11th Gwangju Biennale and the 11th Shanghai Biennale, both in 2016. She was one of the finalists for the HUGO BOSS ASIA Prize in 2017. As another part of her art practice, Yu Ji is the co-founder and curator of AM Art Space, which began in 2008 as one of the few non-profit artist-run spaces still active in Shanghai today. Yu Ji was born in 1985 in Shanghai and lives and works in Shanghai and Vienna.

    This program is presented in conjunction with Liz Larner: Don’t put it back like it was, and led by exhibition curators Mary Ceruti, Executive Director, Walker Art Center, and Kyle Dancewicz, Interim Director, SculptureCenter.

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    Generous support for Liz Larner: Don’t put it back like it was at SculptureCenter is provided by the Girlfriend Fund, The Deborah Buck Foundation, Sarah Miller Meigs, and the Henry Moore Foundation. Support for the exhibition catalog is provided by Galerie Max Hetzler, Berlin | Paris | London; The Modern Institute, Glasgow; Regen Projects, Los Angeles; and the Girlfriend Fund.

    Leadership support of SculptureCenter’s exhibitions and programs is provided by Carol Bove, Jill and Peter Kraus, the Pollock-Krasner Foundation, Lee Elliott and Robert K. Elliott, Eleanor Heyman Propp, Jacques Louis Vidal, Miyoung Lee and Neil Simpkins, Robert Soros and Jamie Singer Soros, and Jane Hait and Justin Beal.

    SculptureCenter’s annual operating support is provided by the Elaine Graham Weitzen Foundation for Fine Arts; the Lambent Foundation Fund of Tides Foundation; the Anna-Maria and Stephen Kellen Foundation; A. Woodner Fund; Libby and Adrian Ellis; The Willem de Kooning Foundation; Teiger Foundation; Helen Frankenthaler Foundation; Cy Twombly Foundation; Arison Arts Foundation; public funds from the New York City Department of Cultural Affairs in partnership with the City Council; the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature; and contributions from our Board of Trustees, Director’s Circle, SC Ambassadors, and many generous individuals and friends.