Sculptures of Chairs

When does one seat become something over a seat? An educational and unusual exhibition in the Pizzuti Collection analyzes this question. When Attitudes Become Chairs contains seats of descriptions with a varied group of architects, artists, and designers.

The exhibition hastens the boundaries separating design, art, and sculpture. What kind do you select to get a pre-determined assembled? And does this matter? They’re all seats during the time you’re not permitted to take a seat down on some of those seats in the display. Marrying purpose and type, they show an object that could be changed into new and something inspirational.

Setup perspective, When Attitudes Become Chairs, Pizzuti Collection, Columbus
The display starts with two Papasan chairs that appear ideal for a rest or even a trip back into youth. This season, the seats, which have been constructed, are covered with cats or plush Snoopys including Felix the Cat instead of eyes. The canines and felines trickle above the seats’ borders, their feet. Brazilian artist-designer brothers Fernando and Humberto Campana made the stainless steel-and-Cumaru wood seats using New York-based graffiti artist-designer KAWS, which made the stuffed creatures drawing out of his approach of pop culture references.

Seats combine mathematics and art. Dutch designer Joris Laarman’s aluminum “Bone Seat” (2006) features arching struts that branch out under the chair and round the trunk like dividing a mutant skeleton. A computer-based in an algorithm Laarman composed to figure out the type for a chair like this hunting blind chair really created the seat. His laboratory constructed a 3D metallic printer capable of welding, also a revolution in style with applications.

Setup perspective, When Attitudes Become Chairs, Pizzuti Collection, Columbus
The exhibit’s name references curator Harald Szeemann’s famous (or notorious) 1969 exhibit in Bern, Switzerland, branded Live in Your Head: When Attitudes Become Form, that included work by Claes Oldenburg, Hans Haacke, Eva Hesse, Richard Serra, along with other adventurous musicians whose work was exhibited in a random manner at or nearby that the Kunsthalle Bern. The display was hated by the people, in part as the memorial was vandalized by a few artists by chipping the plaster off, projecting molten lead, or hammering a pavement in relation. Szeemann then abandoned his role as manager of the Kunsthalle Bern, however, the series propelled his profession because of an independent curator famous for cooperating with artists instead of dictating to them. The display was so powerful it was restaged for its Venice Biennale in 2013.

Shiro Kuramata, “Miss Blanche” (1988)
When Attitudes Become Chairs is curated by Marc Benda, founding partner of Friedman Benda gallery at New York, also the curator and author Glenn Adamson. Within an introduction to the catalog, Adamson writes they had been motivated from the Kunsthalle Bern exhibit since they “truly wish to reach for layout exactly what the 1969 display did for good art: to collect a selection of exemplary expressions so that the people can experience their joint energies.”

Acclaimed English designer Ron Arad has furniture layout forward for a long time. An aluminum rocking chaise couch titled “Oh-Void two” (2006) includes alternating blue and translucent lines in an oval shape with two round voids of unwanted space generated by openings at the seat’s interior. The design is sculptural and elegant, but it does not look comfy.

It had been clearly just one of Arad’s seats that directed Ron Pizzuti to enlarge his fine art set to the area of style; this impressive set is the basis for its nonprofit Pizzuti Collection, that Ron runs together with his wife, Ann. (In a sudden move, the Pizzuti’s declared they’d transfer possession of the museum as well as part of the group to the Columbus Museum of Art effective January 1, 2019, that will radically boost the size and global scope of the museum’s collection.)

Ron Arad, “Oh-Void two” (2006)Wendall Castle, “Above-Within-Beyond” (2014)
The display also includes several seats by Wendell Castle, frequently referred to as the father of their art furniture motion. Castle, who died transformed seats within the span of six years of work that was revolutionary into sculpture. Back in “Dark Matter” (2011), Castle uses pile lamination by gluing bits of wood together prior to dividing them between an elegant concave seat and adjacent side table which balances with a single leg between them. The revolutionary layout conjures Art Deco or even the helm of a spaceship.

When does one seat become more than a seat? We can refer to Rule #1 of Castle’s Ten Adopted Rules of Thumb for some advice: “Whether it is surprising or laborious, it is probably helpful.”

 

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