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Phyllida Barlow, untitled:stiltedcrates, 2015. Courtesy the artist

Why Sculpture Now?

11 Oct 2015

Free event for ICA Members only. Learn more about becoming a member.

With this panel discussion an esteemed group of artists and curators explore the position of sculpture within art practice today. Chaired by Lisa Le Feuvre, Head of Sculpture Studies at the Henry Moore Institute, panellists include Okwui Enwezor, Director Haus Der Kunst and Nasher Prize juror; artist and Nasher Prize juror, Phyllida Barlow; artists Michael Dean and Eva Rothschild; and Nasher Sculpture Center Chief Curator Jed Morse.

Organised by the Nasher Sculpture Center, in association with The Henry Moore Institute and the ICA, Why Sculpture Now? is a Nasher Prize Dialogue program, made in conjunction with the Nasher Prize, and is intended to foster international awareness of sculpture and of the Nasher Prize, and to stimulate discussion and debate.

Okwui Enwezor is a curator, art critic, editor and writer. Since 2011 he has been the Director of the Haus der Kunst in Munich. He is curator of the 56th International Art Exhibition at this year’s Venice Biennale and previously served as Artistic Director of the 2nd Johannesburg Biennale, South Africa (1996-1998); Documenta 11, Kassel, Germany (1998-2002); the Bienal Internacional de Arte Contemporáneo de Sevilla, Spain (2005-2007). Enwezor’s practice spans international exhibitions, museums, academia, and publishing. His research includes video and photography, archives theory, photographic documentation, photojournalism, and museums history. He also studies theories on diasporas and migrations of post-colonial modernism, and the architecture and urbanism of post-colonial African cities.

Since retiring in 2009 after forty years of teaching at the Slade School of Art, artist Phyllida Barlow has mounted a number of highly acclaimed, daring exhibitions of monumental sculpture, including her recent solo exhibition tryst at the Nasher Sculpture Center. Other solo exhibitions include: set, Fruitmarket Gallery, Edinburgh (2015); HOARD, Norton Museum of Art, West Palm Beach, FL.; Scree, Des Moines Art Center, Des Moines, IA (2013); Phyllida Barlow: siege at the New Museum, New York, NY (2012); BRINK, Ludwig Forum, Aachen, Germany (2012); Phyllida Barlow: Bad Copies, Henry Moore Institute, Leeds, England (2012), among others.

Born in Newcastle Upon Tyne in 1977, Michael Dean lives and works in London. His work explores themes of language, the act of writing, and the struggle to communicate in a variety of forms, including sculpture, photography, poetry, plays, publications and performance. He has had solo exhibitions de Appel arts centre, Amsterdam, NL; Extra City Kunstal Antwerp, Antwerp, BE; Supportico Lopez, Berlin, DE; Kunst Forum Ludwig, Aachen, DE; Pied-à-terre, San Francisco, US; Serpentine Gallery Pavilion, London, UK;  Kunstverein, Freiburg, DE; Centre for Contemporary Art, Riga, LV; Austrian Museum of Applied Art, Vienna, AT; ABC, Berlin, DE; Nomas Foundation, Rome, IT; Lorcan O’neil, Rome, IT; Henry Moore Institute, Leeds, UK; among others. Dean also has upcoming solo exhibitions at South London Gallery, London, UK and the Nasher Sculpture Center, Dallas, US.

Born in Dublin in 1971, and currently based in London, Eva Rothschild has received acclaim for works that reshape the legacy of minimalist and post-minimalist sculpture to offer evocative, open-ended experiences to the viewer. She made her first large-scale intervention in a museum space in 2009, when she created Cold Corners, Tate Britain’s Duveens Commission. In 2011, she created Empire for the Public Art Fund, New York, placing a monumental, multidirectional archway of steel at one of the entrances to Central Park. Rothschild has exhibited widely at museums, including Hepworth Wakefield, Tate Britain, and Kunsthaus Basel, and mounted solo exhibitions at Dublin City Gallery The Hugh Lane, Dublin, Ireland; Stuart Shave, London; Galerie Eva Presenhuber, Zurich, Switzerland; New Art Center, Wiltshire, UK, Nasher Sculpture Center, Dallas, TX; and Whitechapel Gallery, London, UK.

Jed Morse joined the staff of the Nasher Sculpture Center in 2002 as Assistant Curator.  At the Nasher, he has organised numerous exhibitions and contributed to their attendant publications, including David Smith: Drawing + Sculpting; Matisse: Painter as Sculptor; Jaume Plensa: Genus and Species; Tony Cragg: Seeing Things; Ernesto Neto Cuddle on the Tightrope; Katharina Grosse: WUNDERBLOCK; Return to Earth: Ceramic Sculpture of Fontana, Melotti, Miró, Noguchi, and Picasso, 1943–1963; Nasher XChange: 10 Years. 10 Artists. 10 Sites; Phyllida Barlowtryst’; Giuseppe Penone: Being the River, Repeating the Forest; and the Sightings series of installations by contemporary artists such as Diana Al-Hadid, Martin Creed, Nathan Mabry, Anna-Bella Papp, Bettina Pousttchi, Eva Rothschild, Alyson Shotz, and Erick Swenson.

Organised by the Nasher Sculpture Center, in association with The Henry Moore Institute and the ICA, London

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