White Columns Online:

World Holes

curated by Jesse Greenberg

June 29, 2018–September 15, 2018 Online
Elisa Soliven Untitled, 2018 Glazed ceramic and aluminum leaf 17 x 15 x 3 in. Courtesy of the artist (A grey, organic rectangular form covered with grids and small rectangular pockets filled with different colored glazes. There are two circular cutouts that are not filled with anything. The sculpture is standing on raw plywood.)

Elisa Soliven
Untitled, 2018
Glazed ceramic and aluminum leaf
17 × 15 × 3 in.
Courtesy of the artist

Elisa Soliven Untitled, 2018 Glazed ceramic and aluminum leaf 17 x 15 x 3 in. Courtesy of the artist (A grey, organic rectangular form covered with grids and small rectangular pockets filled with different colored glazes including off-white, mustard yellow, dark reds, muddy green, and turquoise blue.)

Elisa Soliven
Untitled, 2018
Glazed ceramic and aluminum leaf
17 × 15 × 3 in.
Courtesy of the artist

Courtney Puckett The Listener, 2017 Fabric, metal, wood, wire, string, found objects 61 x 33 x 8.5 in. Courtesy of the artist (A flat, standing sculpture that is primarily red and white consisting of straight metal or wooden structures wrapped in fabric and connected with skinny lines that form patterns similar to spiderwebs.)

Courtney Puckett
The Listener, 2017
Fabric, metal, wood, wire, string, found objects
61 × 33 × 8.5 in.
Courtesy of the artist

Courtney Puckett Happy Sad Shield, 2015 Fabric, metal, wood, wire, string, found objects 89 x 48 x 8 in. Courtesy of the artist (A yellow, flat standing sculpture balanced on a point, leaning on a wall. The sculpture is twice as tall as it is wide and consists of smaller skinny lines forming a larger geometric structure. The top half of the sculpture is an octogonal web, and the bottom half is an isosceles triangle coming to a point at the bottom.) 

Courtney Puckett
Happy Sad Shield, 2015
Fabric, metal, wood, wire, string, found objects
89 × 48 × 8 in.
Courtesy of the artist

Courtney Puckett The Racer, 2016 Fabric, metal, wood, wire, string, found objects 73 x 35 x 8 in. Courtesy of the artist (A flat, black standing sculpture attached to a base and a thicker central pole. The sculpture consists of lines of various thicknesses making geometric forms and patterns including a circle at the top, followed by a vertical and horizontal rectangles.)

Courtney Puckett
The Racer, 2016
Fabric, metal, wood, wire, string, found objects
73 × 35 × 8 in.
Courtesy of the artist

Melissa Hopson Meet Me on the Patio 1/2, 2018 Cast aluminum 12 x 5 x 2 in. Courtesy of the artist (A standing sculpture made of lines forming a central rectangle in which three lines with lumps in the middle bridge one side of the oval to the other.)

Melissa Hopson
Meet Me on the Patio 1/2, 2018
Cast aluminum
12 × 5 × 2 in.
Courtesy of the artist

Elisa Lendvay Shuffle Sometimes, 2016 Aluminum, paper clay, bottle caps, gouache, acrylic paint and medium 6 × 9 × 5 in. Courtesy of the artist (A sculpture where two forms that resemble X's are joined at all four points. The top and the bottom connections are further bridged by stacks of bottle caps.)

Elisa Lendvay
Shuffle Sometimes, 2016
Aluminum, paper clay, bottle caps, gouache, acrylic paint and medium
6 × 9 × 5 in.
Courtesy of the artist

Catherine Cullen Underwater Mirror, 2012 Hammered steel 24 x 16 x 1 in. Courtesy of the artist (A sheet of steel with various circular cutouts and domed indentations from being hammered leaned against the wall.)

Catherine Cullen
Underwater Mirror, 2012
Hammered steel
24 × 16 × 1 in.
Courtesy of the artist

E.S.P. TV Work, installation shot, 2017 Custom live television studio, gallery staff, custom office partitions, rented office furniture, fluorescent lights, framed photographs, 4 channel glass video conference wall, 4 duratrans prints, blue carpet, 10 foot satellite dish, multi-channel video projection, six live-to-tape 30-minute television episodes, 110 videotape library of past broadcasts. Dimensions variable Courtesy of the artist (A picture of an office with blue walls and white furniture. There are five people pictured working on desktops and laptops. One of the walls has a TV with a video playing on it.)

E.S.P. TV
Work, installation shot, 2017
Custom live television studio, gallery staff, custom office partitions, rented office furniture, fluorescent lights, framed photographs, 4 channel glass video conference wall, 4 duratrans prints, blue carpet, 10 foot satellite dish, multi-channel video projection, six live-to-tape 30-minute television episodes, 110 videotape library of past broadcasts.
Dimensions variable
Courtesy of the artist

E.S.P. TV Work, installation shot, 2017 Custom live television studio, gallery staff, custom office partitions, rented office furniture, fluorescent lights, framed photographs, 4 channel glass video conference wall, 4 duratrans prints, blue carpet, 10 foot satellite dish, multi-channel video projection, six live-to-tape 30-minute television episodes, 110 videotape library of past broadcasts. Dimensions variable Courtesy of the artist (A picture of an office with blue walls in a larger room with brick walls with windows. There are cameras, white office furniture and two partitions with photographs installed on them.) 

E.S.P. TV
Work, installation shot, 2017
Custom live television studio, gallery staff, custom office partitions, rented office furniture, fluorescent lights, framed photographs, 4 channel glass video conference wall, 4 duratrans prints, blue carpet, 10 foot satellite dish, multi-channel video projection, six live-to-tape 30-minute television episodes, 110 videotape library of past broadcasts.
Dimensions variable
Courtesy of the artist

Participating Artists

Catherine Cullen
E.S.P. TV
Melissa Hopson
Elisa Lendvay
Courtney Puckett
Elisa Soliven

Exhibition Description

In this project to curate an online “show” using the 450 artists currently in the White Columns online registry database without a prerogative or a theme in mind, I set out to research and browse through the database with the sole intention to organize a selection of artists who I do not know, and are new to me. Artists I could discover. Skipping through the randomizer disregarding themes, trends, current political relevance or comodifiability.  It was odd and almost humorous that my attention kept stalling on works that I realized involved absence, or holes, or lack of material. In one sense this could be seen as choosing the works that were least “there” but it revealed the tenements, traditions, and traits of the substance of what makes Sculpture. I am a sculptor primarily, that is to say I work in materials rather than images. Much of the “job” of a sculptor is to prove the reasoning of the material in conjunction with the form. And yes I do mean, “prove.” Whereas a painter will never have to prove the ready-to-go reasoning behind stretching a piece of fabric on a set of wooden bars and portraying an image in the safe confines of a rectangle. A sculpture is critiqued by a longer process that involves an almost judicial court of material necessity, or material meanings.

It is in this expected chore that I found clever formal decisions on the selected artists’ part that evade this challenge, by creating formal sculptural moves that navigate the absence of material and inherently through that, evade decision altogether.
SO what does this look like?

Elisa Soliven creates grey mattered gridded bejeweled items. Some with absences that appear as deep eyeholes set in alignment with jewel like compartments. The typical human attraction trick of: shiny & colorful, has been superseded by the absence of the glitz. As the “eyehole” (portholes) gain amplified presence.

Courtney Puckett’s sculptures made of conglomerations of skinny lines crisscrossing, like spider-webs building up a scaffold, show the thought process and structural necessities the artist must navigate, much like a buildings armature at a construction site. Like drawings in space these sculptures have a frontal view, where all form disappears into material on side view.

Melissa Hopson’s work looks like the rungs of a ladder made of drips of aluminum. There is a liquid like flow form to the piece. As if the machine or container of the liquids is absent from the work, and we are left to see only the fluids form. The whole piece looks like it could unfreeze and splash into a puddle.

Elisa Lendvay’s work looks like a model for an astro-physics teaching device with some smooth arms reaching in and around itself, while two arms are made of stacked bottle caps. The combination of smooth non-specific material form and found object bare necessity exemplification shows the immediate associations materials can hold or retain.

Catherine Cullen’s piece is a straightforward bare piece of rectangular sheet metal that has been pounded dented and holed. The work exists as a moment caught in time of the fissure of the metal. As if it is foaming and degrading, and we are left with a moment capture in between its dissolvement.

E.S.P. TV has set up a TV production office in a gallery space. This space resembles the now highly popular form of office layout that new tech companies are preferring. No cubicles, no walls, no offices, trying to showcase a horizontal power distributed amongst employees. The point is to try to make all feel as equally privileged, but ends up creating a distributed surveillance system of employees amongst each other. No one can stop working, or take a break, because everyone is plainly in view of each other fearing to appear as if they are continually working.

Jesse Greenberg is an artist and curator, living and working in New York.

This exhibition is the sixth in a series of online exhibitions; this exhibition was curated from White Columns’ Artist Registry.

Participating Artists Include:
Catherine Cullen
E.S.P. TV
Melissa Hopson
Elisa Lendvay
Courtney Puckett
Elisa Soliven

For more information: registry.whitecolumns.org

Elisa Soliven Untitled, 2018 Glazed ceramic and aluminum leaf 17 x 15 x 3 in. Courtesy of the artist (A grey, organic rectangular form covered with grids and small rectangular pockets filled with different colored glazes. There are two circular cutouts that are not filled with anything. The sculpture is standing on raw plywood.)
Elisa Soliven Untitled, 2018 Glazed ceramic and aluminum leaf 17 x 15 x 3 in. Courtesy of the artist (A grey, organic rectangular form covered with grids and small rectangular pockets filled with different colored glazes including off-white, mustard yellow, dark reds, muddy green, and turquoise blue.)
Courtney Puckett The Listener, 2017 Fabric, metal, wood, wire, string, found objects 61 x 33 x 8.5 in. Courtesy of the artist (A flat, standing sculpture that is primarily red and white consisting of straight metal or wooden structures wrapped in fabric and connected with skinny lines that form patterns similar to spiderwebs.)
Courtney Puckett Happy Sad Shield, 2015 Fabric, metal, wood, wire, string, found objects 89 x 48 x 8 in. Courtesy of the artist (A yellow, flat standing sculpture balanced on a point, leaning on a wall. The sculpture is twice as tall as it is wide and consists of smaller skinny lines forming a larger geometric structure. The top half of the sculpture is an octogonal web, and the bottom half is an isosceles triangle coming to a point at the bottom.) 
Courtney Puckett The Racer, 2016 Fabric, metal, wood, wire, string, found objects 73 x 35 x 8 in. Courtesy of the artist (A flat, black standing sculpture attached to a base and a thicker central pole. The sculpture consists of lines of various thicknesses making geometric forms and patterns including a circle at the top, followed by a vertical and horizontal rectangles.)
Melissa Hopson Meet Me on the Patio 1/2, 2018 Cast aluminum 12 x 5 x 2 in. Courtesy of the artist (A standing sculpture made of lines forming a central rectangle in which three lines with lumps in the middle bridge one side of the oval to the other.)
Elisa Lendvay Shuffle Sometimes, 2016 Aluminum, paper clay, bottle caps, gouache, acrylic paint and medium 6 × 9 × 5 in. Courtesy of the artist (A sculpture where two forms that resemble X's are joined at all four points. The top and the bottom connections are further bridged by stacks of bottle caps.)
Catherine Cullen Underwater Mirror, 2012 Hammered steel 24 x 16 x 1 in. Courtesy of the artist (A sheet of steel with various circular cutouts and domed indentations from being hammered leaned against the wall.)
E.S.P. TV Work, installation shot, 2017 Custom live television studio, gallery staff, custom office partitions, rented office furniture, fluorescent lights, framed photographs, 4 channel glass video conference wall, 4 duratrans prints, blue carpet, 10 foot satellite dish, multi-channel video projection, six live-to-tape 30-minute television episodes, 110 videotape library of past broadcasts. Dimensions variable Courtesy of the artist (A picture of an office with blue walls and white furniture. There are five people pictured working on desktops and laptops. One of the walls has a TV with a video playing on it.)
E.S.P. TV Work, installation shot, 2017 Custom live television studio, gallery staff, custom office partitions, rented office furniture, fluorescent lights, framed photographs, 4 channel glass video conference wall, 4 duratrans prints, blue carpet, 10 foot satellite dish, multi-channel video projection, six live-to-tape 30-minute television episodes, 110 videotape library of past broadcasts. Dimensions variable Courtesy of the artist (A picture of an office with blue walls in a larger room with brick walls with windows. There are cameras, white office furniture and two partitions with photographs installed on them.) 

Elisa Soliven
Untitled, 2018
Glazed ceramic and aluminum leaf
17 × 15 × 3 in.
Courtesy of the artist (A grey, organic rectangular form covered with grids and small rectangular pockets filled with different colored glazes. There are two circular cutouts that are not filled with anything. The sculpture is standing on raw plywood.)

Elisa Soliven
Untitled, 2018
Glazed ceramic and aluminum leaf
17 × 15 × 3 in.
Courtesy of the artist (A grey, organic rectangular form covered with grids and small rectangular pockets filled with different colored glazes including off-white, mustard yellow, dark reds, muddy green, and turquoise blue.)

Courtney Puckett
The Listener, 2017
Fabric, metal, wood, wire, string, found objects
61 × 33 × 8.5 in.
Courtesy of the artist (A flat, standing sculpture that is primarily red and white consisting of straight metal or wooden structures wrapped in fabric and connected with skinny lines that form patterns similar to spiderwebs.)

Courtney Puckett
Happy Sad Shield, 2015
Fabric, metal, wood, wire, string, found objects
89 × 48 × 8 in.
Courtesy of the artist (A yellow, flat standing sculpture balanced on a point, leaning on a wall. The sculpture is twice as tall as it is wide and consists of smaller skinny lines forming a larger geometric structure. The top half of the sculpture is an octogonal web, and the bottom half is an isosceles triangle coming to a point at the bottom.)

Courtney Puckett
The Racer, 2016
Fabric, metal, wood, wire, string, found objects
73 × 35 × 8 in.
Courtesy of the artist (A flat, black standing sculpture attached to a base and a thicker central pole. The sculpture consists of lines of various thicknesses making geometric forms and patterns including a circle at the top, followed by a vertical and horizontal rectangles.)

Melissa Hopson
Meet Me on the Patio 1/2, 2018
Cast aluminum
12 × 5 × 2 in.
Courtesy of the artist (A standing sculpture made of lines forming a central rectangle in which three lines with lumps in the middle bridge one side of the oval to the other.)

Elisa Lendvay
Shuffle Sometimes, 2016
Aluminum, paper clay, bottle caps, gouache, acrylic paint and medium
6 × 9 × 5 in.
Courtesy of the artist (A sculpture where two forms that resemble X’s are joined at all four points. The top and the bottom connections are further bridged by stacks of bottle caps.)

Catherine Cullen
Underwater Mirror, 2012
Hammered steel
24 × 16 × 1 in.
Courtesy of the artist (A sheet of steel with various circular cutouts and domed indentations from being hammered leaned against the wall.)

E.S.P. TV
Work, installation shot, 2017
Custom live television studio, gallery staff, custom office partitions, rented office furniture, fluorescent lights, framed photographs, 4 channel glass video conference wall, 4 duratrans prints, blue carpet, 10 foot satellite dish, multi-channel video projection, six live-to-tape 30-minute television episodes, 110 videotape library of past broadcasts.
Dimensions variable
Courtesy of the artist (A picture of an office with blue walls and white furniture. There are five people pictured working on desktops and laptops. One of the walls has a TV with a video playing on it.)

E.S.P. TV
Work, installation shot, 2017
Custom live television studio, gallery staff, custom office partitions, rented office furniture, fluorescent lights, framed photographs, 4 channel glass video conference wall, 4 duratrans prints, blue carpet, 10 foot satellite dish, multi-channel video projection, six live-to-tape 30-minute television episodes, 110 videotape library of past broadcasts.
Dimensions variable
Courtesy of the artist (A picture of an office with blue walls in a larger room with brick walls with windows. There are cameras, white office furniture and two partitions with photographs installed on them.)