Liz Magor /
Liz Magor; Grant Arnold; Philip Monk; Power Plant (Art gallery); Vancouver Art Gallery.
- Toronto, Vancouver : Power plant : Vancouver Art Gallery, 2002.
- 95 páginas : fotografías algunas a color ; 26 cm.
Incluye tabla de contenido. Incluye algunos datos biográficos. Vancouver Art Gallery, Nov. 16, 2002 - February 23, 2003 and at the Power Plant Contemporary Art Gallery, Mar. 22 - May 25, 2003.
Incluye bibliografía.
Beating around the bush: itineraries for identity, or asymptomatic structure in the work of Liz Magor / Shepherd Steiner. -- Nostalgia isn't what it used to be: Liz Magor's Field work, Civil War portfolio and Camping portfolio / Grant Arnold. -- Playing house: a brief account of the idea of the shack / The Office for Soft Architecture. -- Playing dead: between photography and sculpture / Philip Monk. -- Plates. -- Exhibition list. -- Biography and Bibliography. -- Acknowledgements.
Playing Dead: Between Photography and Sculpture In the summer of 2001, a controversy swirled around a sculptor dead for nearly a century. It centred on an exhibition over which the artist had less than full control, for more reasons than that he was dead. Thus this exhibition, From Plaster to Bronze: The Sculptures of Auguste Rodin, at the Royal Ontario Museum in Toronto, was rightfully contested by the Musée Rodin in Paris, heir to Rodin’s artistic legacy—for the exhibition was full of recently made posthumous casts and foundry, not studio, plasters. At stake was the authenticity of the work on display, an abyssal issue, given that Rodin’s bronzes are “examples of multiples that exist in the absence of an original.” So wrote Rosalind Krauss, questioning the status of the posthumous castings in the 1981 Rodin Rediscovered exhibition in Washington, D. C., and initiating a controversy that returned to haunt the Toronto show. Krauss went on to write, “If bronze casting is that end of the sculptural spectrum which is inherently multiple, the forming of the figurative originals is, we would have thought, at the other end—the pole consecrated to uniqueness.” No such pole, though, exists: “at the core of Rodin's massive output is the structural proliferation born of this multiplicity.” [1] Multiplicity rules throughout, because at the “origin” of the proliferating chain of bronzes is another reproduction—the plaster cast that forms the mould. Lamentably, no theory revoking artistic originality as postulated by Krauss was provoked by the ROM's institutional sleight-of-hand, for the current debate focused on the dubious use of foundry, not studio, casts in the reproduction of the Rodins. The dark side of this comical return is that we have gone past Krauss’s inaugural question of original reproductions to the unsettling one of simulacral reproductions.