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The Paula Cooper Gallery is pleased to present a selection o f recent works by Liz Glynn\, Justin Matherly\, Amy O’Neill\, Nadine Robin son and Michael Sailstorfer. The exhibition presents a wide variety of a pproaches to contemporary sculpture.

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Liz Glynn explores the ambition of empire and the pleasure of ruin. Her practice seeks to embody dynamic cycles of growth and decay\, and to propose direct action through sculptural material. In her most recent series\, California Surrogates for the Getty\, 2008\, Glynn took all of the pieces the Getty had to infamous ly return to Italy once it was proven they were looted and remade them usi ng distinctively simple materials and methods. “Glynn’s works are not repl icas\, as they do not fake authenticity. In her practice she emphasizes th e contemporary\, this notion of an ever-shifting present\, using the past not as an action long over\, but as agent in the present.”

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Just in Matherly creates sculptures consisting of ambulatory equipment (wal kers\, crutches\, shower chairs) that have been reconfigured to hold up co ncrete forms which recall misfigured bodies\, roughhewn monuments\, and ab ject accretions alike. Matherly's new series of sculptures take inspiratio n from Juno Ludovisi\, the colossal first century Roman marble head. The a rtist’s interests were influenced by research into the writings of the Fri edrich Schiller’s “On the Aesthetic Education of Man” and Jacques Ranciere ’s essays on the statue. Also examining the domination of Greek Culture on Western thought and the principles of Romanticism\, Matherly states his p rocess is “not a sacrilization of works of the past\, instead it is a de-s acrilization\, a reawakening.”

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Amy O’Neill explores the dec ayed modes of cultural production in the North American and European lands cape. Through installations\, drawings and films\, she draws upon vernacul ar culture and folklore\, foregrounding their strangeness and blurring the distinction between the registers of the authentic and kitsch. Influence d by the Victory Gardens\, which were planted at private residences and pu blic parks across the United States and Europe during the two World Wars\, O’Neill’s new series of floor sculptures builds upon the artist’s interes t in the “defunct mode of domestication and plays with the relationship be tween the functional and the symbolic.”

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Nadine Robinson is a conceptual artist working primarily in light and sound. Born in London t o African parents\, Robinson spent her childhood in Kingston\, Jamaica\; s he later immigrated to New York. Her work is a reflection of her cultural hybridity\, and the result of her critical engagement with notions of blac kness\, urbanism\, spirituality and the legacy of the male-dominated\, whi te modernist canon. Robinson has become well known for her large-scale scu lptures and “sonic paintings” that work within a minimalist vocabulary\, c ombining sounds\, audio equipment and unconventional materials in challeng ing ways.

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Michael Sailstorfer creates tangibly poetic images evoking states of euphoria and disintegration\, by transforming everyday objects and places. Absurd failure and tragicomedy play an important part in his work\, as does the question of the space a sculpture occupies. Ofte n theatrical\, Sailstorfer's works also operate within the tension between such contradictory concepts as homeland and remoteness\, mobility and st illness\, sound and silence\, or light and darkness. Destruction\, recombi nation\, and transformation are his basic compositional principles.

DTEND:20110312 DTSTAMP:20140416T082318 DTSTART:20110128 GEO:40.747213;-74.00618 LOCATION:Paula Cooper Gallery - 521 W. 21st Street\,521 W 21 St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Sculpture\, Liz Glynn\, Justin Matherly\, Amy O'Neill\, Nadine Robi nson\, Michael Sailstorfer UID:144204 END:VEVENT END:VCALENDAR