Stretched over 500m2, the museum has at its disposal one
of the largest archives in the world, which includes more than 1000 metres
of archive material (files,
newspaper cut
outs, videos, posters, photographs, paintings,
sculptures and so on).
Judith Hopf's snake
sculptures, however, become petrified in an ironic contrast: while showing their teeth and tongues, built
out of printed emails and
newspapers, the rest
of their usually supple bodies look static and stuck somewhere in a system
of endless variables provided by the net and its geometry.
Oldenburg often tore images
of commercial goods from magazines and
newspapers as source material for his
sculptures, which he described in 1961 as «rips
out of reality,» fusing the printed advertisement with three - dimensional reality.
2002 M.Anderson,» Artist Tinkers with Notions
of Sculpture», The Korea Times, p. 30 M.Kerr, «Michael Joo at Anton Kern Gallery», Tema Celeste, no. 94, December A.Church «Michael Joo at Anton Kern Gallery», Flash Art, v. 35, no. 227, November / December N.Princenthal, «Michael Joo at Anton Kern», Art in America, v. 90, no. 11, November, p. 153 City Edition, no. 16193, November, p. 16 «Michael Joo», The New Yorker, 30 September M.Schwendener, «Michael Joo — Anton Kern Gallery», Time
Out New York, no. 364, 19 - 26 September «The Mind is a Horse», Time
Out London, 18 September, p. 55 A.Dannat, «Michael Joo — Anton Kern Gallery», The Art
Newspaper, no. 128, September M.Meneguzzo, «Michael Joo at Paolo Curti & Co», Artforum, v. 40, no. 10, Summer, p. 184 E.Heartney, «Import / Export: The Body East», Art in America, v. 90, no. 4, April, pp. 44 - 7, 49 H.Cotter, «Calligraphy, Cavorting Pigs and Other Body - Minded Happenings», New York Times, 25 January, Late Edition — Final, Section E, Column 1, p. 45
Rochelle Goldberg's installation No Where, Now Here includes live chia grass growing
out of the carpet, creating an actual ecosystem within a sculptural one, and Win McCarthy's
sculptures take on a decidedly raw feel, collaging
newspaper clippings and self - portraits with rough - and - ready materials, including metal and rocks.