As well as showcasing a number of recent works
by young
artists, the exhibition looks at how
artists of
different generations have
handled performativity, proposing an «intergenerational topography of forms and themes».
SPECTRUM brings together seven
artists from across the country with vastly
different practices, who are united
by their intrepid
handling of color as an evocative agent of expression.
Over the last few weeks I have encountered a rather odd collection of sculptural things: the postwar ceramic sculpture of Lucio Fontana and Fausto Melotti bursting with dynamically glazed and roughly
handled surfaces, currently on view at the Nasher Sculpture Center; The Age of Innocence, a victorian bust in three
different materials
by the English sculptor Alfred Drury at the Henry Moore Institute; a visit to Henry Moore's house, studios, and now foundation at Perry Green, and most recently what I can only describe as a wonderfully insane lecture
by the contemporary sculptor Thomas Houseago, which involved an increasingly drunk, cursing
artist saying some surprisingly sincere, profound things about sculpture.