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artscope magazine: September/October 2010
Welcome Statement: Brian Goslow, managing editor
cornered: a conversation with an IT specialist attendee at Waterfire, Providence
wanderlust - NEW ENGLAND PUBLIC SCULPTURES
featured artist - JOAN MULLEN Mothership pods
HOUSE OF WORDS: Caroline Bagenal
NICHOLAS NIXON: FAMILY ALBUM - New Works: Prints, Drawings, Collages
ILANA MANOLSON: CHANNELING THOREAU
RECENT WORK: David Loeffler Smith
EXCHANGE: The Power of Collaboration
by way of these eyes - the sublime, exotic and familiar
S P L A S H !, Art 3 Gallery
SHARON LOCKHART: LUNCH BREAK
THE MEDIA STILL POWERS THE MESSAGE - New Prints by Dan Wood
Joe Wheaton and Susan Rodgers: Spatial Relationships
ALLA PRIMA: DAVID BREWSTER
LATIN VIEWS 2010
THE EXQUISITE WONDER OF EVERYDAY OBJECTS
industry focus - TO BUY OR NOT TO BUY?
community - WALTHAM MILLS: A HIVE OF WORKING STUDIOS
Capsule Previews
Joe Wheaton and Susan Rodgers: Spatial Relationships
Keith Shaw



Berkshire Museum
39 South Street
Pittsfield, Massachusetts

Through October 11


The Berkshire Museum has recently expanded its mission to include special exhibits of regional contemporary artists, an outreach unique among the county’s five major museums. “Spatial Relationships” sets a new benchmark in this initiative.lt;/p>

Housed in the expansive central gallery, the exhibit showcases the sculpture of Joe Wheaton and Susan Rodgers, two established artists working principally in metal. Nearly 20 works are on hand, and most of the pieces were specifically made for the show. Responding to the open space, a few of Wheaton’s works are sweepingly large.



Wheaton experimentally produced three assemblages that incorporate such playful materials as brightly painted, baked chicken feet and pink eraser dust. The most serious piece, “2 Rocks,” addresses the theme of artificiality in modern society. Thirty shining cans bear the stamp BEEF WITH JUICES and the silhouette of a cow — effective symbols of canned nature. In the midst of this bovine landscape, a cropped photo of the blonde transsexual Amanda Lepore ominously stares out. Beneath, a toy figure of a boy plays with scrap metal at a construction site, where two rocks represent nature’s dwindled refuge.



Wheaton’s metal pieces sustain a dialogue between mass and line. In “Room #909” — an 18-foot-wide door dangles overhead — formulating into a narrow red band that shoots across the wall, terminating in an explosion of erratic movement. A black hulky passenger rides along, crumpling and collapsing under the velocity. The visual concept is rather like space junk drafting on a comet’s tail, suggesting both humor and irony.



A similar correlation exists in “Arm Candy #2;” a handsome, vaguely anthropomorphic, rectilinear form stands bolt upright. The elegant black structure, one of Wheaton’s most impressive, elicits faint whispers of Art Deco and even Dogon sculpture. Springing from the top, a wishbone-shaped element dangles a hinged arm, which sports a sensuous, metallic ribbon in candy-apple red. The title leaves little doubt about




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