The document provides an overview of recent events and programming at Sculpture Space in Utica, NY, including highlights of their artist in residence Olivia Valentine and alumni artists Kim Carr Valdez and Paul Valdez. It also announces their 25th annual CHAIRity Art Auction fundraiser on October 25th and updates on public art installations, alumni happenings, and their wish list for upcoming renovations following a studio fire.

1. CONTENTS
2 HIGHLIGHTS: Monika Burczyk,
Executive Director
3 ARTIST IN RESIDENCE:
Olivia Valentine
5 ALUMNI: Kim Carr Valdez
& Paul Valdez
7 DONOR: 25 years, 25 chairs!
8 PUBLIC ART:THE SEASON
OF SCULPTURE: NANO at the
Marcy Nanocenter at SUNYIT
10 THE SEASON OF
SCULPTURE: Persephone at
Griffiss International Sculpture
Garden
12 ALUMNI HAPPENINGS
14 WISH LIST
CALENDAR OF EVENTS
Saturday, October 25th
4:00-8:00pm • 25th Annual CHAIRITY
Art Auction, 12 Gates Street, Utica
April 22nd (Earth Day!)
Works in Progress
June 11th
Works in Progress
SUMMER/FALL 2014
NEWS FROM SCULPTURE SPACE, UTICA, NY
sculpt

2. sculpt 2
Monika Burczyk,
Executive Director
The easiest way to describe the
happenings at Sculpture Space over
the past few months is the following
equation: JUNE fire - AUGUST design
+ SEPTEMBER x reconstruction =
OCTOBER CHAIRity!
On October 25th, we will celebrate the
Silver Anniversary of our signature
fundraiser and showcase for local,
regional, national and international
artistic talent. We are dedicating our
celebration to Rosalind Diamond (who
recently passed away), a long-time
Board member and a founder, with
Nancy Robinson (currentTreasurer),
of this amazingly successful event.
We are also very excited to unveil
the transformative renovations to
12 Gates following the studio fire
on June 10th. While the cause of
the blaze was not immediately clear
(most likely a faulty box fan) what
was obvious was how to proceed.
After quickly relocating our Artists
in Residence with the assistance
and generosity of our community of
alums, Board and staff brainstormed
as to what enhancements might
be made to take advantage of this
once-in-a-lifetime opportunity. By
improving our facility (based on AIR
feedback gathered over the years),
we hope to ensure that our programs
remain vital and vibrant for decades
to come.
In addition to galvanizing friends
from the past 38 years, the fire has
also highlighted the talents and
expertise of our neighborhood
partners. As a Made in Utica/Built in
Utica initiative, we have partnered or
sought advice from dozens of local
suppliers, fabricators and service
professionals, including Adjusters
International, Gaetano Construction,
Meyda Lighting, GreenIgnite, the
Community Foundation of Herkimer
& Oneida Counties, BGM Supply,
ECR International, Big Apple Music,
Cobblestone Construction, Winterton
Painting, JGA of Utica, Fred Collis
& Sons, Morehouse Appliances,
McQuade & Bannigan, JayK Lumber
and others. Now that the rebuilding
is complete and our roof has been
restored, we are raising funds to
replace our aging furnace with a
green, high-efficiency gas boiler
system that will complete our
vision. Other CHAIRity sponsors
– both old and new – have helped
us immeasurably through their
generosity and support. And, as
always, our family of artists have
provided a wonderful array of art; in
addition to Wrapped Fountain (yet
another stellar Christo piece), we have
the singularly delightful E’s Drawing
(a sculpture by John von Bergen) and
will also be raffling off Double Chai, a
painting generously donated by our
past president Sheila Smith.
Of course, this revolutionary year
has created a heightened sense of
our upcoming 40th anniversary in
2016. As we look ahead to what will
be, we have also been reflecting on
the past. Reminiscing with Sylvia
de Swaan and Jonathan Kirk, the
first leaders of Sculpture Space, they
spoke about never narrowly defining
sculpture. By making a home for
artists with diverse and emergent
practices from the start, Sculpture
Space has been able to avoid fixed
notions or academic limitations that
might have constrained our vision.
Almost 40 years later, I am proud to
say we maintain this tradition of the
untraditional.
If you -- like us – believe in the
special, the unexpected, the new,
the surprising and the innovative,
we urge you to stay involved. As
we continue to recover from the
fire, smoke, soot and water, our
list of needs is long. The first of
our annual Friends letters will be
sent in November. As always, your
contribution allows us to present
exceptional events and extraordinary
artists that enliven our lives and
enrich our community, and that
distinguish Utica as a place which
values its rich cultural past while
fueling its creative future.
HIGHLIGHTS

3. sculpt 3
MONIKA: Last year you were at Virginia Commonwealth
University in Richmond as a Fountainhead Fellow in the
Department of Craft and Material Studies.The year before
you were on a Fulbright inTurkey. What were some of your
projects?
OLIVIA: InTurkey, I worked on several projects. My research
was on Oya, the name for the specific lace that is on the
edge of the headscarves that some women inTurkey wear.
I did two site-specific installations, one in Istanbul called
Panorama and one called Walking Oya that documented
walks in Cappadocia around the tops of the iconicTable
Mountains. While it seems like there were many walkers,
if you look closely at the photographs, they are all me! In
addition to those, along with my husband Firat Erdim (a
Turkish-American artist and architect), we ran a project
space in the Karsıyaka neighborhood of Izmir. The project,
called Flash Atölye, took place in a commercial arcade. We
produced ten exhibitions over the course of the year, that
featuredTurkish and international artists collaborating with
the merchants – a barbershop, a nail salon, a butcher, a
clothes seller. (For photos, go to: http://flashatolye.tumblr.
com/)
MB: WhyTurkey?
OV: Lots of reasons! Intellectually, I am interested in the
relationship between architecture and textile, as well as
in ornamentation.TheTurkish word “nakıs” (pronounced:
nakoosh) actually captures this dynamic. While it generally
refers to ornamentation, this word is most often used for
embroidery. But in Cappadocia, it is also often used to talk
about decorative stonework. Cappadocia is a place that, for
me, is about edges, which is where my interest in textiles
is located. To be honest,Turkey itself is a transitional,
interstitial place: politically, socially, culturally, historically.
Getting to learn Oya from the community of women in the
village I worked in was fantastic and craft is very much
appreciated inTurkey.
MB: I looked up Oya, it has a fascinating history.
OV:Yes, it dates back to the Ottoman Empire. The designs
often come from plants and flowers and there is a tradition
of attaching expressive meaning to the strands, which I see
as similar to the language of flowers that the Victorians so
loved.
MB: The piece you are working on at Sculpture Space was
begun at VCU, is that right?
OV:Yes, it is based on the architecture of the Wilton House
Museum in Richmond and will be featured in a show there
called Anywhere But Now that opens in November. Then I
will be in Rome for six months or so.
ARTIST IN RESIDENCE: OLIVIA VALENTINE

4. sculpt 4
MB: So, how are you able to do your work – which
demands so much space, time and concentration – while
being so peripatetic at the same? Is this how you imagined
your career and studio practice?
OV: While I certainly didn’t plan it this way, I don’t mind
being completely itinerant right now. I am a bit tired at
the moment – I am going into my third year of moving
around! But I am really excited to go to Rome, because of
the relationship between drawing and construction in the
historical cityscape. A nice thing about textiles is that they
fold up! I can usually put work in the mail or pack it into the
back of my car even if it is very large. I have run into some
interesting challenges in terms of my drawings, as I tend to
draw full-scale architectural renderings to begin.
MB: Can you tell me more about these drawings?
OV: Sure, they are related to the same feminist sensibility
that drew me to textiles. With lace you have a very
gendered history, right? Think of the Vermeer painting
The Lacemaker, with the image of a woman bent over
working on a lace pillow. I also work on a sloped table
top, but think of it more like an architect’s drafting table.
I am always trying to draw relationships between these
different scales and modes of working. Most of my recent
work starts with a full-scale architectural drawing, which,
in itself is a bit of an anomaly, which I then go through a
painstaking process of translating these large drawings
into lace.
MB: Can you tell me a bit about bobbin lace?
OV: European lace-making has two general types, needle
and bobbin. Needle lace started in Italy and moved
north. Bobbin lace started in Belgium and moved south.
Over time, they overlapped and intersected, so there are
many variations of both of them. While needle lace is
linked to embroidery, bobbin lace’s origins are murkier,
with ancestors in plaiting (braiding) and passementerie
(decorative tassels). I used to start my pieces with knitting
or crocheting, and then I would add the drawing element.
After discovering bobbin lace, I realized I could draw first
and then build the lace – so it allows me to make drawings
in a way that I had not imagined before. I see my work as
spatial drawing, whether on paper, photographs, or lace.
As my graduate school professor once said, this kind of
work exists in “2-1/2 dimensions!”
MB: If you could do a piece based on any famous building
or architect, who would that be?
OV: As an undergraduate studying architecture at Cooper
Union, I was very interested in the houses of Adolf Loos.
I would love to do a project in one of his houses: there is
such a stark contrast between exterior and interior space in
them. A lot of my research looks at the divisions between
these spaces and the windows that occupy the space of
both inside and outside. I also love Gaudi, and particularly
his modeling techniques: he used string and gravity to
model the curves that he used. I often use sandbags in my
work that are a direct quote from Gaudi’s models.
MB: I’ve learned that many of our AIRs whose work is very
detailed -- requiring hours of intense concentration -- tend
to watchTV or movies as they construct their pieces. Is
there a favorite show that come to mind for your practice?
OV: Ha! I often refer toTV as my “butt glue” and have had
extensive conversations with colleagues about whichTV
shows are best to watch while working – the requirements
are extensive. Law and Order is a great one, as there are
so many episodes, and it is also not a highly visual show.
MB:The piece you are working on at Sculpture Space is
one of your largest yet. Just how many hours and how
many miles of thread do you think you will use by the time
you’ve finished?
OV: Oh I don’t count, precisely, though I have acquired
about 8 pounds of thread. I guess a better measure might
be how many seasons of aTV show it takes!
www.oliviavalentine.net

5. sculpt 5
ALUMNI: KIM CARR VALDEZ & PAUL VALDEZ
MONIKA: You both share -- in addition to a marriage, child
and house -- a studio. And you both create exquisitely
crafted objects. At Sculpture Space, AIRs often comment
on the experience of “working alone together,” and the
unconscious and conscious dialogues that occur as
they share studio space. Can you talk a bit about your
respective creative processes: how and when do you
collide, inspire, challenge, or connect with one another?
PAUL: Our processes collide whenever we talk about our
work to each other. I am much more formal and organized
in my ideas and work ethic. I must try, fail or succeed in a
linear progression. Kim is more likely to proceed in circular
or lateral way. Rarely do we cross paths. We connect
by sharing our failures in the process and the success of
making the materials work to our needs.
KIM: Our creative process often meets when one of us
is exploring a new process, especially in metal. We both
work with metals and identify as metalsmiths, but in very
different ways. So having someone to bounce technical
problems off is very helpful. Paul has always taken care
of most studio needs: building tables, sourcing tools,
maintaining equipment, making my time in the studio
much easier to manage! Over the years, we’ve tried to
maintain an honest dialogue when it comes to critiquing
work; we always push one another in order to maintain
high standards of both craft and design.
MB: Where do you see your work going in the next few
years? What ideas and forms are most compelling to you
right now?
KCV: I am working on developing a jewelry line and hope
to be able to have a casting setup soon, that will allow me
to set up a business. I have a few prototypes worked out
inspired from the Canal Street series. I was given a gift
of beads that I plan to use to create jewelry, decorative
objects and sculptures with. It’s a different direction for
me but one that I am excited to be going in. I am also very
interested in continuing to investigate the use of metallic
acrylic paint – a kind of counterfeit instead of the real metal
-- in found object molds. I am intrigued by what is real and
artificial and how the transformation of any object into a
false material creates meaning. I would like to reintroduce
found objects that are recreated in paint as I develop this
technique.
PV: For the past three years I have not had a studio to
work in. As I gear up to get back to work, I am reviving
my study of pouring vessels (or watering cans) as well as
just pounding out copper sheet into sculptural forms as a
progression of the Artifacts. I see the watering cans are a
study in formal skill, basically the planning and execution
of a traditional craft form. My Artifacts (a term I use for
my sculpture) are more a study of my hand at work. They
come out in more of an unplanned, spontaneous way as
my hands manipulate the material and the hammer. With
a new body of work I hope to be able to support my studio
work by participating in select craft shows and pursuing
gallery representation.
MB: Both of you have a bit of the magpie in you,
sometimes I think all artists – especially sculptors – are
collectors at heart. Paul, you showed me a bucket of
hammers that you “rescued,” transformed and made new.
Can you tell me about these?
PV: I alter the face of a ball peen hammer to achieve
different patterns on the surface of my raised vessel
forms, that’s why I began to collect and restore them. The
hammers are not really a body of work but more a hobby,
I see it as a mission to help bring life back to a tool that I
have a connection with.
MB: Kim, I am drawn to the rules you created for
yourself for the Canal Street series as much as the objects
themselves.
KCV: I started collecting objects I found on the streets

6. sculpt 6
when I was working on Canal Street
in NYC, where there were a lot of
black market goods. I noticed these
small metal objects on the sidewalks
because I was trying to avoid eye
contact with the vendors and was
looking down. At first, I only picked
up watch links. I made up this rule
that whatever I collected had to come
directly from the sidewalk or street
and within a few blocks of Canal. I
used a new Ziploc bag every day and
I would note the date and location
of everything I found. Well, soon
that became entirely impractical! So
then I came up with a system where
I would put what I had found in a
wristlet that I would empty out at
the end of the week and then label.
Special items I would date by the day.
The watch links I began to organize
like a puzzle at the end of each month.
Other works vary widely but most
have some chronological structure.
The chronology is important to me
because I feel that it is like a record of
trade as well as a diary.
MB: Are either of you eyeing
anything special now to start a new
collection with?
PV: Not at the moment.
KCV: I generally collect decorative
objects related to fashion and the
beauty industry, or mechanical parts
and pieces of hardware. I have been
collecting Orbit gum wrappers for
about five years now; my son and I
have plans for these that involve a
dump truck and a rocket ship… After
moving my household and studio
every couple of years, I have become
very selective with what I collect in
regard to scale, but now that we seem
to be settling in Utica for awhile, this
may be changing!
MB: What’s it like being artists in
Utica?
KCV: Both of us are fairly slow to
change from being Brooklyn artists
to Uticans even though we lived
upstate in the past. There is potential
here. It is a small and supportive
community of people, some with
great talent, who aspire for more for
than what the current art scene has to
offer. Sculpture Space and Munson
Williams Proctor Arts Institute have
been our primary cultural connection
here and we try to support these
organizations as they are vital to the
future arts community.
MB: How about any potential for
collaborations between the two of
you?
BOTH: We have always worked
autonomously. We just bought a
house and can finally unify our studio
after years of compromises and
separate circumstances. What comes
from that remains to be seen!
MB: Any best quotes from your son
about art: his, yours or others?
BOTH: Jackson says: “I am a messy
painter and I only like BIG paper.”
Need he say more?
http://www.kimcarrvaldez.com/Kim_
Carr_Valdez/Home.html
http://www.valdezmetals.com/Valdez_
Metals/Home.html

7. sculpt 7
DONOR:
CELEBRATINGTWENTY-FIVEYEARS OF GRATITUDE
TOTHE FOUNDERS,THE ARTISTS ANDTHE
COLLECTORS WHO HAVE MADE CHAIRity
A SUCCESS.
25th Annual

8. PUBLIC ART: SEASON OF SCULPTURE OSMAN AKAN – NANO
MONIKA: How long have you been doing public art
projects?
OSMAN: Over eight years now.
MB: In that time, what has been your most challenging site
and/or piece?
OA: Each site has its own challenges, but if I have to pick
I would say Fragmenta installed in Anchorage, Alaska.
The temperatures can drop to - 30F and there are Arctic
winds that blow up to category 2 hurricane, in addition to
seismic activity similar to that of California. Making a glass
sculpture that can withstand those conditions, as well as
installing it under those conditions was quite a feat!
MB: How long have you been a sculptor?
OA: I have been working professionally since 2002, prior
to that was studying mostly. I would say I am more of a
designer/artist than a typical sculptor. To me the difference
is that I respond primarily to the parameters that come
from the site where an artwork is to be placed. Artists such
as Robert Irwin and JamesTurrell do this very well I think. I
am also interested in light and artists that use it for outdoor
pieces; in addition toTurrell, I would say I am drawn to
artists like Dan Flavin, Robert Smithson and Heinz Mack.
MB: Tell me about the process of creating NANO.
OA: I have been working with filters that reflect light
along different frequencies for a long time, I always strive
for my sculptures to react to its surroundings through its
surface. I like when you see an artwork from different
angles, or from different perspectives, or in different light.
And you see it as if for the first time. For a sculpture to
interact with the sky, the landscape or the seasons, one has
to consider the viewer first and foremost. As the surface
reflects the changes around it on a daily basis, it has a
fuller resonance that reinforces both the form and the site
on which it stands. Obviously, the form can vary depending
on the observer’s point of view, but the surface can also
be dynamic and contemplative by embodying constant
change and stillness at the same time.
MB: Any other factors that have fueled this responsiveness
and interest in reflection for your sculptures?
OA: Yes -- I come from an immigrant background, I have
always seen in multiple perspectives.
SUNYIT-MARCY NANOCENTER,
installed September 2014
sculpt 8

9. sculpt 9
MB: I noticed that there is definitely
an inside and an outside to NANO,
can you explain this part of the
design?
OA: It is quite intentional on my
part, not there just because of the
way the piece is made. The natural
world plays between convex and
concave surfaces -- like breathing
-- I see it almost like a text, a collage
where the opposites meet. In a
way an artwork can embody several
states in one form; it is a part of my
process and I always like to keep
these decisions transparent. Crystals
work like this: there is interplay
between surfaces, the depths
that the angles manifest. Sort of
like a kaleidoscope or juxtaposed
mirrors that multiply images.
Since nanotechnology is primarily
about scale -- an important topic of
sculpture as well -- I wanted to bring
the notion of scale into the work. I
find it curious that the reduction of
complex organic matter to nanoscale
results in basic geometric forms
such as hexagons. I had already
studied carbon nanotubes and their
structure, so I wanted to generate a
form that brought these nanoscale
structures to the level of regular
human perception: to use sculpture
as an apparatus to enlarge and
enable. Another aspect of NANO is
that the structure and the surface are
both the same; the entire artwork is
cut out of steel sheets and the angles
within hexagonal forms are those
that give it strength. The modeling
for NANO was done in 3D Max,
which I use extensively. Parametric
generation of the piece was done
with Grasshopper software.The rest
of the piece was cut, welded and
then painted. I usedTnemec paint,
which is the best available (and also
incorporates nanotechnology itself!)
chosen because of its durability.

10. PUBLIC ART: SEASON OF SCULPTURE HOWARD KALISH – PERSEPHONE
MONIKA: How did you begin doing public art?
HOWARD: About 25 years ago I decided I was interested
in having work installed publically. I knew in order to get
commissions, I needed a piece to show clients, however
my studio was really not large enough. However, I
proceeded to make the biggest sculpture I could in that
space, measuring 10’ x 10’ x 8’ -- even though I knew there
would be no way to get it out of there! When I was lucky
enough to sell that sculpture (I had to take down a wall
and cut the piece up to remove it), I bought the studio I
am still in, with 24’ ceilings. After moving in, I again made
the biggest sculpture I could manage (about 18’ high).
That piece ended up being exhibited at the Pier Walk in
Chicago, transported and installed at my own expense,
and subsequently sold. From that point, with a two-piece
portfolio, I was on my way.
MB: Is there a piece or site that stands out as most
challenging or compelling?
HK: Always the one I am working on currently! But if I
had to choose one, I would say Plexus, now at Florida
International University in Miami, because of the
complexity of its construction: it was very heavy, had many
parts and required special engineering. Needless to say,
there is a big difference between a 24” model and a 10’
sculpture. Plexus is spherical, made of bronze rods welded
together with a lot of openings. An engineer looked at the
model and we thought it was solid and strong. But when
the actual sculpture was welded it had a certain amount of
flex; because of the weight it was also egg-shaped, slightly
shorter than it was wide. I consulted the engineer and all
his solutions to correct that would have made the design
worse. In the end, I left it as is, and it is still on the campus
of Florida International University. I doubt if anybody has
noticed its not-quite-roundness, even after all these years,
but it made me much more aware of these alterations from
model to real-world in subsequent projects.
MB: How long have you been making art?
HK: I have been an artist for as long as I can remember, I
have been a sculptor exclusively for the last 35 years.
MB: What inspires you? Do you have any favorite artists or
artworks?
HK: My first and most important inspiration was my older
brother, who is an artist; then came comic books, then
Picasso, then Matisse, then the Abstract Expressionists,
GRIFFISS INTERNATIONAL SCULPTURE
GARDEN, installed October 2014
sculpt 10

11. who made me aware of art before the 20th century. My
favorite sculptor of all time (if I had to pick one, which isn’t
really possible) is Donatello, especially because some of
his work was polychrome, which interests me. For painters,
Breughel, especiallyThe Seasons (of which there are five!).
MB: Can you talk a bit about Persephone?
HK: I wanted to make a colorful sculpture that appeared
to be reaching upward. I had to devise a design that could
be unassembled for powder coating, which was done after
numerous drawings and a few models. I call it Persephone
because it reminds me of a female figure but also a tree,
and Persephone is the goddess of the regeneration of plant
life every spring. It is made out of steel with green at the
base/ground changing to yellow at the top/sun.
MB: What is your favorite part of the artistic process?
HK: Brainstorming and making the model.
MB: Its interesting that as a sculptor who makes public
art, you prefer the phase that seems more solitary and
individual?
HK: I wouldn’t say “solitary.” The creative process can be
collaborative, models are usually modified after discussion.
But I prefer the creative part of the process. Once the model
is approved making the large sculpture is a more question
of fabrication. Not that the process of executing a design as
a large sculpture doesn’t have creative aspects, but I prefer
the beginning.
MB: Do you have any advice to young artists, looking to
enjoy a long and fulfilling career, such as you have had?
HK: If you are lucky enough to have an idea or inspiration
of your own, follow it and don’t be diverted, no matter how
it difficult or irrational or silly it may seem at the time.
sculpt 11

12. sculpt 12
Roberley Bell’s
(1994) The Shape
of the Afternoon,
that transformed a
gallery and rooftop
terrace into a faux
sculpture garden,
was on view at
the deCordova
Sculpture Park and
Museum, Lincoln,
MA. Through
October 6, 2014.
Ishmael Randall
Weeks (2008) is
included in Beyond
the Supersquare
at the Bronx Museum for the Arts. Exploring the influence
of Latin America and Caribbean modernist architecture on
contemporary art, the group exhibition features over 30
artists and more than 60 artworks. Through January 11,
2015.
Vojtech Mica (1998) was recently highlighted in his solo
exhibition Format, at the Gallery House (Galerie Dum) in
the Broumov Monastery in Prague.
Eve Bailey (2008) was awarded a residency and
commission from the Verbier 3-D Foundation, Switzerland.
The commission, Our Impermanent Walk is on view at La
Place Blanche until July 2015 and will be subsequently
installed at the Verbier 3-D Sculpture Park through July
2016.
Incoming AIR Ronald van der Meijs’s installation ATime
Capsule of Life was featured at the National Art Museum
of China in Beijing as part of the InternationalTriennial of
New Media Art 2014. His work is also currently featured in
exhibitions at CBK Gallery and Zone2Source in Amsterdam.
Benjamin Entner (2007) was awarded a commission by the
Soap Factory for Minneapolis’s Northern Spark Festival.
The commissioned 48’ inflatable sculpture as well as other
pieces were shown this past summer at the Gallery at the
Kenneth J. Minnaert Center of the Arts, Olympia, WA.
Incoming AIR Paul
Kaptein received the
$25,000 Main Prize by the
2014 Australian Mandorla
Art Awards.
Michael Clyde
Johnson (2011) received
a commission from the
SPACE Gallery andThe
Friends of Congress
Square Park to create
Untitled Patio with
Benches and Planter
in collaboration with
Youthbuild, a teen
development program in
Portland, ME.
WilliamTucker (1980), Willard Boepple (1976-79), John
Monti (1993), LeeTribe (1979-84, 1987-88), Marsh Pels (1980-
81) and JamesWolfe (1978) are featured in Art in Nature: A
Collaboration of Greenwood Gardens and Studio Montclair
at the Greenwood Gardens in Short Hills, New Jersey.
Through November 2nd.
Ann Reichlin (1998) is currently featured in a group show at
Central Booking in NewYork City.Through November 2nd.
Zaq Landsberg (2012) and Meredith James (2006) are
featured in Socrates Sculpture Park’s annual Emerging
Artist Fellowship Exhibition.Through March 22nd.
ALUMNI HAPPENINGS

13. sculpt 13
Jarrod Beck’s (2014) Uplift opened in September at Sara
D. Roosevelt Park in NewYork, created the sculpture for
the NYC Department of Parks and Recreation as a recipient
of the 2014 Clare Weiss Emerging Artist Award. Through
August 2015.
Abigail Anne Newbold (2011) solo exhibition,
Borderlander’s Outfitter, at the Pacific Northwest College
of Art in Oregon is on view through October 24th. Abigail
will be an Artist-in-Residence at the MacDowell Colony
beginning in October.
Brian McCutcheon (2008) has been commissioned to
create a new work for the Autumn Equinox Event at the
Indianapolis Museum of Art, Virginia B. Fairbanks Art and
Nature Park. Water Mining is an interactive work designed
to collect and amplify the underwater sounds of the Park’s
lake.
Jessica Segall (2011) is featured in a group exhibition at
Wave Hill in the Bronx. Recapturing the Scenic Wilds,
this “in-progress” piece is a review of a field study of the
invasive bird species of NewYork. Through December 7th.
Lee Boroson’s (1993) solo exhibition, Plastic Fantastic
opened at MassMOCA on October 11th. Boroson currently
teaches at Rhode Island School of Design.

14. WISH LIST
Hand tools (new or in good condition)
Wheelbarrow
Gardening HandTools
PicnicTables
(4) Double Beds with Frames
Flat screenTV
CONTACT
www.sculpturespace.org
12 Gates Street
Utica, NY 13502
315 724 8381
info@sculpturespace.org
sculpt
sculpt 14