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Ordinary Things takes Sarah Lucas' (b. 1962) recent series of sculptures 'NUDS' (2009-) as a starting point\, looking forward and backward across an artistic practice that has engaged with the possibil ities of sculpture for over two decades.

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Many exhibitions of Lucas' work have focused on her as a central player within British art in the 199 0s. Ordinary Things offers a counter position: this exhibition of thirty sculptures turns to the sculptural rather that the sensational\, pos itioning Lucas' work within an art historical lineage that addresses the ma terials and processes of sculpture. From 'Big Fat Anarchic Spider' (1993) t o 'NUDS' (2009-2010)\, to 'Unknown Soldier' (2003) and 'Jubilee' (2012)\, v ia 'Suffolk Bunny' (1997-2004)\, 'Au Naturel' (1994) and 'Penetralia' (2008 )\, Ordinary Things identifies Lucas' consistent questioning of th e definition of sculpture. Lucas works with the 'ordinary things' that form our surroundings and assumptions.

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Sculpture is formed of a narrow and specific history\, concerned with processes of making and informed by t he ways in which human beings use objects to attempt to make sense of the s urrounding world. Lucas' sculptures are built on the art historical idea of what a sculpture might be - an object\, defined by gravity\, space\, the h uman body and naturally found forms. Ordinary Things locates Lucas ' works firmly in this history\, with the works pointing to the canon of sc ulpture\, ranging from third century Italian votives\, Bernini's classical statuary\, the figures of Henry Moore and the natural materials of Barbara Hepworth\, to the Arte Povera strategies of Mario Merz and the fou nd objects of Robert Filliou.  Her works also recall the knotted bodies of Orlan from the 1960s and the dolls of Hans Bellmer and Oskar Kokoschka\, as well as the surrealist figures of Pablo Picasso\, Robert Gober and Louise Bourgeois\, Cycladic torsos and archaeological artefacts. Ordinary Thin gs is a consideration of the ways in which Lucas uses the sculptural l anguages of the figure and the cast. Made by her own hand\, her objects are produced through the languages that surround them\, materials that are rea dy at hand\, and sculptural procedures and traditions\, taking in cutting\, welding\, moulding\, handling\, stuffing\, assembling\; monumental\, ready -made\, formal\, quick-build\, representational and abstract.

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Lucas ' sculptures are made of and from the human body - a deca ying and sensible object that requires maintenance and care. 'Au Naturel' ( 1994) is a portrait of a couple on a bed\, a man represented by a cucumber and a pair of oranges and a woman by a pair of melons and a bucket. Both vu lgar compositions are constructed from materials and vernacular slang that are commonplace\, their 'human' component made from organic matter that nee ds to be replaced as inevitable decay sets in. In the seven 'NUDS' (2009-20 10) here on display\, limbs can be seen wrapping around each other in knott ed couplings and solo acrobatics\, the cellulite-marked flesh formed from ' natural' tights stuffed with fluff and stiffened by wire\, the delicate sur face bruised and wrinkled as the bodies perch on their breeze-block support s.

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Sarah Lucas is currently the host of Situation at Sadie Coles HQ in London\, a project running throughout 2012 that channels the s pirit of the artist-led exhibitions of the late 1980s and 1990s with which Lucas and her contemporaries launched their careers. Since the 1990s Lucas' work has been exhibited internationally in solo and group presentations.  Recent solo exhibitions include NUDS (Museo Diego Rivera Anahuacal li\, Coyacan\, Mexico\, 2012)\, Spirit of Ewe (Two Rooms\, Aucklan d\, New Zealand\, 2011) and NUDS CYCLADIC (Museum of Cycladic Art\ , Athens\, 2010) and recent group exhibitions include Modern British Sc ulpture (Royal Academy of Arts\, London\, 2011)\, British Art Show 7: In the Days of the Comet (Nottingham Contemporary\; Hayward Galler y\, London\; Tramway\, Glasgow\; Plymouth Museum\, 2010-11) and The Sur real House (Barbican Art Gallery\, London\, 2010).

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Ordinar y Things is curated by Lisa Le Feuvre\, Head of Sculpture Studies at t he Institute\, and is accompanied by a fully illustrated publication featur ing essays by Lisa Le Feuvre\, Deborah Orr\, Anne Wagner and Gilda Williams .

DTEND:20121021 DTSTAMP:20140822T062856 DTSTART:20120719 GEO:53.800061;-1.5473571 LOCATION:Henry Moore Institute\,74 The Headrow \nLeeds \, LS1 3AH SEQUENCE:0 SUMMARY:Ordinary Things\, Sarah Lucas UID:226854 END:VEVENT BEGIN:VEVENT DTEND:20120719T173000 DTSTAMP:20140822T062856 DTSTART:20120719T110000 GEO:53.800061;-1.5473571 LOCATION:Henry Moore Institute\,74 The Headrow \nLeeds \, LS1 3AH SEQUENCE:0 SUMMARY:Ordinary Things\, Sarah Lucas UID:226855 END:VEVENT END:VCALENDAR