Bruce M. Sherman

March 6–April 18, 2015
Sculptures arranged on wall-mounted shelves sitting upright and resembling abstract human faces.

Bruce M. Sherman, installation view, 2015

Sculptures aligned in a white gallery space. Majority of the works to the right are presented on wall-mounted shelves, one work to the far left sits on a tall white pedestal.

Bruce M. Sherman, installation view, 2015

Facing view of sculptures arranged on wall-mounted shelves.

Bruce M. Sherman, installation view, 2015

A small, glazed sculpture composed of a diamond shape on a stem. The elements of the \ shape suggest a face, with a sharp, straight nose and light turquoise eyes.

Bruce M. Sherman
Untitled, 2014
Ceramic
22 × 15 × 4 in.

A dark blue sculpture composed of three upright cylindrical shapes. Protrusions on either side of the work suggest animated features. Three vertically aligned holes painted pink at the center of the work resemble bodily orifices.

Bruce M. Sherman
Untitled, 2014
Ceramic
12 × 13 × 6 in.

Press Release

White Columns is proud to present the first New York solo exhibition by Bruce M. Sherman. Sherman’s exhibition comprises a group of twenty-four, recent slab-built stoneware sculptures.

Adopting the form of functional vessels – planters, vases, etc. – Sherman’s works invariably take the form of portrait-like, anthropomorphic characters. Employing humor as a recurring ‘motif’ Sherman’s ceramic works suggest a lineage from the proto-surrealist pots of George Orr to the more recent and often irreverent work of artists as different as Alice Mackler and Ella Kruglyanskaya. Presented together Sherman’s animated sculptures read as if a crowd: a polyphony of exuberant ‘voices’ simultaneously at-odds and in-synch with one another.

Bruce M. Sherman lives and works in New York.  His work has been included in exhibitions including: “What Is Your Original Face,” South Willard, Los Angeles; “If you throw a spider out the window, does it break?” curated by Adrianne Rubenstein, Brennan & Griffin, New York; “Soft Shock” curated by Lucie Fontaine, Eli Ping Frances Perkins, New York; “Think Pink,” curated by Beth Rudin DeWoody, Gavlak Gallery, Palm Beach; “Plus B,” curated by Amy Granat, Front Desk Apparatus, New York; and “Six Americans,” Museo Regional  Michoacanao, Morelia, Mexico.  Sherman’s drawings are featured in Fran Shaw’s newly published book “Lord Have Murphy: Waking Up in the Spiritual Marketplace.”

For more information contact: info@whitecolumns.org

Checklist

Sculptures arranged on wall-mounted shelves sitting upright and resembling abstract human faces.
Sculptures aligned in a white gallery space. Majority of the works to the right are presented on wall-mounted shelves, one work to the far left sits on a tall white pedestal.
Facing view of sculptures arranged on wall-mounted shelves.
A small, glazed sculpture composed of a diamond shape on a stem. The elements of the \ shape suggest a face, with a sharp, straight nose and light turquoise eyes.
A dark blue sculpture composed of three upright cylindrical shapes. Protrusions on either side of the work suggest animated features. Three vertically aligned holes painted pink at the center of the work resemble bodily orifices.

Bruce M. Sherman, installation view, 2015 (Sculptures arranged on wall-mounted shelves sitting upright and resembling abstract human faces.)

Bruce M. Sherman, installation view, 2015 (Sculptures aligned in a white gallery space. Majority of the works to the right are presented on wall-mounted shelves, one work to the far left sits on a tall white pedestal.)

Bruce M. Sherman, installation view, 2015 (Facing view of sculptures arranged on wall-mounted shelves.)

Bruce M. Sherman Untitled, 2014 Ceramic 22 × 15 × 4 in. (A small, glazed sculpture composed of a diamond shape on a stem. The elements of the shape suggest a face, with a sharp, straight nose and light turquoise eyes.)

Bruce M. Sherman, Bruce M. Sherman Untitled, 2014 Ceramic 12 × 13 × 6 in. (A dark, blueish grey sculpture composed of three upright cylindrical shapes. Protrusions on either side of the work suggest animated features. Three vertically aligned holes painted pink at the center of the work resemble bodily orifices.)