Artists Space

Western Agenda

March 14 – May 4, 1991

An exhibition of sculptural installments investigating spectatorship as a metaphor for changing definitions of monuments, boundaries and personal and public space. Organized by Cornelia Butler.

Deborah Garwood, Ava Gerber, Page Hauser, Rita McBride, John Monti, David Schafer

A metal statue is being lifted from its platform by a crane via ropes around its neck and feet. A large building is visible behind it.
[A metal statue is being lifted from its platform by a crane via ropes around its neck and feet. A large building is visible behind it.]

Western Agenda focuses on sculpture that uses formal and architectural references to address definitions of public and private space and the relationship of the viewer to monuments and sculptural objects. These artists approach installation by making large scale, primarily self­ contained, sculptural objects which formally refer to modern movements or tenets such as Minimalism, Post-Modern architecture and Russian Constructivism.

The works explore the implications of public and private viewing both politically, in terms of changing definitions of public monuments here and in Eastern Europe, and in terms of the viewer's relationship to the gallery. By creating sculptural objects within the gallery space which refer to other kinds of public viewing situations, the exhibition explores how abstract or formal sculpture as installation can address larger political concerns by engendering meaning in largely non-narrative objects.

Western Agenda will be accompanied by a catalogue with an essay by Cornelia Butler, statements by the artists, as well as photographic reproductions of the artist's current installations and past work.

A black and white image of three overlapping pillows propped up against a white wall.
Ava Garber, 3 Pillows, 1990. Wax, fabric, wood and oil, 36 x 120 x 36 inches. [A black and white image of three overlapping pillows propped up against a white wall.]
A black and white photograph of a tall metal sculpture in an otherwise empty room, surrounded by white columns. The sculpture has a tall platform with a narrow ladder and has several support wires.
David Schafer: Western Agenda. Installation view, Artists Space, 1991. [A black and white photograph of a tall metal sculpture in an otherwise empty room, surrounded by white columns. The sculpture has a tall platform with a narrow ladder and has several support wires.]
A black and white photograph of a sculpture lit from above. It has several suspended shapes resembling detached car doors, with additional minimal pieces.
Deborah Garwood, Car Door and Easels, 1991. [A black and white photograph of a sculpture lit from above. It has several suspended shapes resembling detached car doors, with additional minimal pieces.]
Two identical large wooden sculptures on a black and white checkered floor. The sculptures have rounded, semi-circle shaped bases with rectangular pieces set crosswise atop that.
John Monti, Rocker Variation, 1991. [Two identical large wooden sculptures on a black and white checkered floor. The sculptures have rounded, semi-circle shaped bases with rectangular pieces set crosswise atop that.]
A black and white photograph of a large convex panel strapped to a white column, its circular side extending out into an empty room.
Rita McBride, General Growth, 1991. [A black and white photograph of a large convex panel strapped to a white column, its circular side extending out into an empty room.]
    Stylized white text on a tan background reads,
    [Stylized white text on a tan background reads, "Western Agenda." Small black text above the white text reads "March 14-May 4, 1991 / Artists Space" while several lines of smaller, spaced out text spells out words such as, "courage" "hardwork" and "prosperity."]