Jonathan Price Installs Major Sculpture At New Broad Art Museum

CYNTHIA-REEVES announces the permanent installation of Jonathan Prince's VESTIGIAL BLOCK at the new Eli and Edythe Broad Art Museum at Michigan State University. The monumentally sized sculpture is one of three currently on display as part of the museum's Sculpture Garden, surrounding the Zaha Hadid designed museum in East Lansing. The Sculpture Garden also features works by Roxy Paine and Steve Miller.

The bequeath represents a six figure gift from the donors Julie and Edward J. Minskoff, whose acclaimed collection of 20th and 21st century art includes works by Jeff Koons, Jackson Pollack, Roy Lichtenstein and Willem De Kooning. Mr. Minskoff is the President and founder of Edward J. Minskoff Equities, a New York-based real estate acquisition and development company headquartered at 1325 Avenue of the Americas in New York City. Part of the Minskoffs' impressive art collection is on view there, and at 590 Madison Avenue - the former IBM building, another Minskoff property. Included in the collection is another work by Jonathan Prince, Light Box, a black granite cube perforated by tubular negative space on all six sides.

VESTIGIAL BLOCK, another work exploring the cube, was first exhibited at the Sculpture Garden at 590 Madison Avenue as part of Prince's Torn Steel exhibition. The series' principal theme explores "interrupted" iconographic forms through oxidized and stainless steel surfaces.

Additionally, Prince's newest work, G2V, is on view at Dag Hammarskjold Plaza outside of the United Nations in New York City, and two earlier works can be seen at the Christie's Sculpture Garden at 535 Madison Avenue. The artist has a mini-retrospective of his black granite sculptures and functional art is on view at ABC Stone in Brooklyn.

In commenting on his shift from stone to steel, Prince says, "Steel is...an additive process; segments can be attached to the core material. As such - I am very excited by the notion that one can penetrate space by the additive process of steel fabrication in ways that could never be done in stone carving, where the sculpture's entire mass must be present in the initial stone block. This is actually the reason I was initially interested in exploring steel as a medium. A point of interest in my work is the idea that even though the steel work was created in an additive fashion, the sculpture has often been reduced from the complete form or geometry." This contradiction in apparent form and process is shown to great example in Vestigial Block. Click here to preview installation video.

To download the exhibition catalogue, please click here.

Charles Ginnever: RASHOMON
San Jose Institute of Contemporary Art
San Jose, California
November 17, 2012 - February 16, 2013

Noted American sculptor, Charles Ginnever, opens RASHOMON, a 15-piece installation at the San Jose Institute of Contemporary Art, beginning November 17th 2012, through February 16th, 2013. Viewed as one of Contemporary Art's most prolific and ardent sculptors in the realm of minimalist abstraction, Ginnever's premier exhibition in California features one of his signal works, Rashomon, (1993-1995) in patinated bronze.

Known for his vanguard work in welded steel, found objects, and bronze, Ginnever creates works that can be viewed anew from virtually every angle, embracing and exploiting the possibilities of sculpture in the round. In Rashomon, the artist provides fifteen versions of the same form, each positioned in a way that reveals the sculpture's visual potential. The piece was titled after the famous Kurosawa film that tells the same story from four different perspectives.

Ginnever's RASHOMON "slips from whatever mental grasp of it a viewer may have won whenever it is placed in a new position. [His] intention for Rashomon is as elemental as its design. In a society in which the integration of space and time is consigned to the realm of idea rather than that of direct physical experience, the work proposes to return human perception to its original state." (Kenneth Baker, Charles Ginnever: Rashomon)

Ginnever began his in career in the 1950s, but came to a seminal moment when discussing the philosophy of sculpture with his peer, Mark Di Suvero. They were admiring of the force and newness of abstract expressionism in painting, and determined that the world of sculpture needed a similar revolutionary approach.This marked a departure for both artists from direct modeling, to creating sculpture that arises from the materials and, further, which emphasizes an expression of the form in space. His peers in this movement include Eva Hesse, Walter de Maria, John Chamberlain, among other noted sculptors.

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