The Renaissance Society presents an exhibition of work by Robert Grosvenor. The centerpiece of the exhibition is an untitled sculpture from 1989-90, re-contextualized within a spare architectural installation.
Over his 50-year career, Robert Grosvenor has produced a body of work that is at once solidly physical and conceptual, muscular and fluid. Grosvenor frequently melds industrial materials and found objects as he experiments with texture and scale, resulting in formal sculptures that reveal a handmade quality and subtle vein of humor. The works resist association, instead quietly and strangely asserting themselves both as assemblages of relationships and as discrete, holistic entities.
For this sculpture, at once monumental and human-scale, Grosvenor adapts the materials of infrastructure—concrete blocks, steel, Plexiglas and paint—evoking what critic John Yau has suggested is the labor of an “anonymous worker.” Twenty-seven years after its initial realization, how has our sense of this sculpture, from its formal language to its frank materiality, evolved or expanded?
This exhibition also provides an opportunity to generate new scholarship around Grosvenor’s oeuvre, further strengthening recognition of his significant contributions to sculpture in the 20th, and now 21st, centuries. Following the exhibition, the Ren will publish a new monograph featuring contributions by Yve-Alain Bois, Bruce Hainley, Susan Howe, and others.
Curated by Solveig Øvstebø.
The centerpiece of Grosvenor’s forthcoming Renaissance Society exhibition is an untitled sculpture from 1989-90 situated within a spare architectural installation.
Opening reception: Saturday, February 11, 5-8pm with a talk by John Yau at 6pm
(image: Robert Grosvenor, Untitled, 1989-90. Courtesy of the artist and Paula Cooper Gallery, New York)