{"id":2229005,"date":"2026-10-30T18:10:32","date_gmt":"2026-10-30T15:10:32","guid":{"rendered":"https:\/\/analyse.optim.biz\/?p=2229005"},"modified":"2026-10-30T18:10:32","modified_gmt":"2026-10-30T15:10:32","slug":"seven-sculpture-shows-to-see-during-art-week-nyc","status":"publish","type":"post","link":"https:\/\/analyse.optim.biz\/?p=2229005","title":{"rendered":"Seven Sculpture Shows to See During Art Week NYC"},"content":{"rendered":"
\n\tIn 1979, at the start of her essay \u201cSculpture in the Expanded Field,\u201d art critic and theorist Rosalind Krauss wrote: \u201cOver the last ten years rather surprising things have come to be called sculpture: narrow corridors with TV monitors at the ends; large photographs documenting country hikes; mirrors placed at strange angles in ordinary rooms; temporary lines cut into the floor of the desert.\u201d<\/p>\n
\n\tSince then, sculpture has ventured even wider, into realms such as crafts, gardens, and masquerades, all relatively unexplored in Krauss\u2019s time by mainstream Western art. Sculpture can take the form of a bacterial culture, a free clinic, or a virtual world, and The Kiss<\/em> can now refer to an 1882 marble by Rodin, a 1923\u20131925 limestone carving by Constantin Brancusi, or a 2003 constructed situation by Tino Sehgal.<\/p>\n
\n\tHow richly varied sculpture can be in our present moment is well illustrated in shows on view in New York this fall, from 15th-century bronzes to Beverly Buchanan\u2019s site-specific memorials. Below are seven sculpture exhibitions on view during Art Week NYC, a citywide festival of art events co-organized by ARTnews<\/em>, Art in America<\/em>, and Artforum<\/em>, taking place throughout the city from November 11 to 14.<\/p>\n
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\u201cBeverly Buchanan: Ruination and Regeneration\u201d at Andrew Edlin<\/h2>\n\n\t\t\t\t\tImage Credit: Collection of Roni and Sidney \nFunk. Artwork copyright \u00a9 Estate of Beverly Buchanan\/Jane Bridges, 2026. Courtesy of Andrew Edlin Gallery. Photo: Adam Reich.\t\t\t\t<\/figcaption><\/figure>\n
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\n\tTo coincide with her inclusion in the 61st Venice Biennale (on view through November 22), Andrew Edlin is showing works by Beverly Buchanan (1940\u20132015), whose art has recently attracted renewed attention. Curated by Aur\u00e9lie Bernard Wortsman, the exhibition will include Buchanan\u2019s 1970s abstract paintings, made during a brief but successful career in New York, as well as sculptures produced after her move to Georgia in 1976. These include her handcrafted \u201cshack sculptures\u201d based on the vernacular architecture of the American South, as well as abstract cast-concrete works placed in galleries, her garden, and most famously at the marshland site of an 1803 slave rebellion (Marsh Ruins [Marshes of Glynn, Brunswick, GA<\/em>], 1981). Often known only through photographs, memorials like this one \u201cresist the idea of monument as something fixed or permanent,\u201d Wortsman told ARTnews<\/em>, \u201cinstead engaging with the passage of time, displacement, and transformation.\u201d<\/p>\n
November 6\u2013December 19, 392 Broadway, 2nd floor<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\u201cCharlie Engelman: Prop Pile Bloom\u201d at Pietro Alexander<\/h2>\n\n\t\t\t\t\tImage Credit: Courtesy of the artist and Pietro Alexander.\t\t\t\t<\/figcaption><\/figure>\n
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\n\tFollowing a well-received solo exhibition last year at Ch\u00e2teau Shatto in Los Angeles, Charlie Engelman is showing a new group of sculptures at Pietro Alexander. Like the works he presented in LA, these pieces are made from Engelman\u2019s go-to materials\u2014flocked high-density foam, cast aluminum, and 500-year-old redwood\u2014all related to California\u2019s natural and industrial past. Also as before, they derive from the artist\u2019s research into biology, design, and art history while conjuring such quintessentially West Coast products as Arts and Crafts furniture, California Deco buildings, and Hollywood Regency decor. The two redwood sculptures here are said to be homages to Louise Bourgeois\u2019s worktable and ceramic sculptor Ken Price\u2019s banding wheels, respectively, while a winding string of forked polyurethane forms, titled Vene Cava<\/em>, refers to the large veins that, like miniature biological freeways, carry deoxygenated blood from the body back to the heart.<\/p>\n
November 5\u2014January 7, 2027, 59 Wooster Street, 2nd floor<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\u201cClaes Oldenburg: Six Themes\u201d at Paula Cooper Gallery<\/h2>\n\n\t\t\t\t\tImage Credit: Artwork copyright \u00a9 Claes Oldenburg and Coosje van Bruggen. Courtesy Paula Cooper Gallery, New York. Photo: Steven Probert Studio.\t\t\t\t<\/figcaption><\/figure>\n
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\n\tAt Paula Cooper, an exhibition of sculptures, drawings, and prints by Pop artist Claes Oldenburg (1929\u20142022) revisits \u201cSix Themes,\u201d a traveling survey show organized in 1975 that explored a half dozen of the artist\u2019s recurring subjects: a geometric Mickey Mouse head based on the shape of a movie projector seen in profile, a three-way electric plug, a cigarette butt, a clothespin, a typewriter eraser, and a baseball mitt. The most notable of the artists who translated Pop art into sculpture, Oldenburg made versions of each of these subjects in a wide variety of scales and materials over the course of his career. Shown here are works ranging from a four-foot-high stuffed and painted canvas clothespin to an 18-inch-long, cast aluminum cigarette butt.<\/p>\n
November 5\u2014December 19, 534 West 21st Street<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\u201cIbrahim Said: Shaping Time\u201d at Yossi Milo<\/h2>\n\n\t\t\t\t\tImage Credit: Courtesy of the artist and Yossi Milo.\t\t\t\t<\/figcaption><\/figure>\n
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\n\tBorn into a family with a ceramics workshop in Cairo, Egyptian-American sculptor Ibrahim Said creates intricately hand-carved clay vessels that bow to multiple religious and craft traditions of the Middle East. References to ancient Egyptian, Coptic, and Islamic art come together in works that combine centuries-old, and even millennia-old, patterns and symbols with contemporary forms. Said\u2019s show at Yossi Milo coincides with the conclusion of his time as one of the three inaugural artists in the Metropolitan Museum of Art and Vacheron Constantin Artisan Residency. A program \u201crecognizing artisanal practices that revive, reimagine, or reinterpret traditional knowledge and technical skill,\u201d the 18-month residency granted Said sustained access to the Met\u2019s collection, resulting in the development of the body of work shown here.<\/p>\n
Through January 9, 2027, 245 Tenth Avenue<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\u201cSiena: The Art of Bronze, 1450\u20131500\u201d at the Frick Collection<\/h2>\n\n\t\t\t\t\tImage Credit: Collection of the National Gallery of Art, Washington D.C. Courtesy of the Frick Collection, New York.\t\t\t\t<\/figcaption><\/figure>\n
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\n\tThe blockbuster exhibition \u201cSiena: The Rise of Painting, 1300\u20141350,\u201d presented at the Metropolitan Museum of Art and the National Gallery, London, in 2024\u201425, explored Siena\u2019s palmy days, when the Italian city was famed as a center of religious paintings by such masters as Duccio, Simone Martini, and Pietro and Ambrogio Lorenzetti. Its run as a hub of painterly innovation ended with the coming of the Black Death in 1348, which wiped out two-thirds of Siena\u2019s population (including the Lorenzettis) and brought artistic activity there to a standstill. A new show at the Frick picks up Siena\u2019s story 100 years later, after the radically transformed city had reestablished itself as a locus of high art, this time for its bronze figurative sculpture. The exhibition features some 40 artworks\u2014virtually all of the surviving bronzes of the period able to travel\u2014by the likes of Vecchietta, Francesco di Giorgio, and Donatello.<\/p>\n
Through January 18, 2027, 1 East 70th Street<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\u201cThaddeus Mosley, Early Works (1954\u20141968)\u201d at Karma<\/h2>\n\n\t\t\t\t\tImage Credit: Courtesy Karma\t\t\t\t<\/figcaption><\/figure>\n
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\n\tLess than a decade ago, Pittsburgh-based sculptor Thaddeus Mosley\u2019s graceful wooden abstractions were relatively unknown beyond his hometown, but his inclusion in the 2018 Carnegie International gained him a wider following. On the heels of its spring show of recent glass pieces by Mosley, who died in March at the age of 99, Karma is presenting a group of his wood sculptures made between 1954 and 1968, along with paintings and collages from the same period. Smaller than the monumental sculptures he is known for, the three-dimensional works here show the artist shifting away from representation while, at the same time, communicating Mosley\u2019s early and abiding interest in African art and how it inspired European modernists such as Picasso and Constantin Brancusi. \u201cWithout West Africa,\u201d he once said, \u201cthere would be no Cubism.\u201d<\/p>\n
Opening November 13, 38 White Street<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\u201cChakaia Booker: Unpacked\u201d at David Nolan<\/h2>\n\n\t\t\t\t\tImage Credit: Courtesy of the artist and David Nolan.\t\t\t\t<\/figcaption><\/figure>\n
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\n\tFrom the unlikeliest of materials\u2014used automobile tires, initially scavenged, now gifted to her by companies like Michelin\u2014Chakaia Booker wrests sculptures of baroque elegance. Grounded in the lineage of 20th-century Black abstraction (Al Loving was an early mentor), Booker\u2019s tire works, which range in scale from intimate to room-size, tumble down walls in cascades of ringlets, curl into self-contained tangles, and mount upward in dust devil\u2014like spirals. While her works have been variously read as tapping into African American traditions of reuse, as a commentary on environmental degradation\u2014generally affecting Black communities more than white\u2014or even as a reference to the exploitative rubber trade, Booker herself offers few clues, preferring to leave interpretations to the viewer. A new exhibition of her work at David Nolan showcases Booker\u2019s skills in other mediums as well, combining her signature rubber works with collages, photographs, and a tapestry.<\/p>\n
November 6\u2014December 19, 74 Leonard St<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\u201cBrancusi: The Artist and His Studio\u201d at the Museum of Modern Art<\/h2>\n\n\t\t\t\t\tImage Credit: Collection of Mus\u00e9e national d\u2019art moderne\/Centre Pompidou, Paris. DIgital image courtesy MoMA. Photo: Adam Rzepka.\t\t\t\t<\/figcaption><\/figure>\n
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\n\tWidely credited with liberating sculpture from a single physical spot, Romanian-born artist Constantin Brancusi (1976\u20131957) did so by dissolving the boundary between sculpture and base, thus creating a work, in Krauss\u2019s words, both \u201cfunctionally placeless and largely self-referential.\u201d Likewise trailblazing were the stripped-down forms of the sculptures themselves and\u2014perhaps most radically\u2014Brancusi\u2019s attempts to transform his works into mutable objects, using reflective surfaces that mirrored the space around them; switching out pedestals, bases, and sculptures; creating different groupings of works in the studio; and making blurry photographs in which they appear as light-struck, ghostly protagonists.<\/p>\n
\n\tThis fall, MoMA puts its collection of Brancusi works on view along with sculptures from the Centre Pompidou\u2019s Atelier Brancusi, the museum\u2019s reconstruction of the sculptor\u2019s studio-as-artwork, whose contents he bequeathed to France upon his death. More than 150 sculptures\u2014along with works on paper, photographs, and extensive archival material\u2014will be on view.<\/p>\n
Through February 27, 2027, at 11 West 53rd Street, 6th floor<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
[analyse_image type=”featured” src=”https:\/\/www.artnews.com\/wp-content\/uploads\/2026\/10\/CO-98-SC_02_SP-copy-1.jpg?w=1024″] In 1979, at the start of her essay \u201cSculpture in the Expanded Field,\u201d art critic and theorist Rosalind Krauss wrote: \u201cOver the last ten years rather surprising things have come to be called sculpture: narrow corridors with TV monitors at the ends; large photographs documenting country hikes; mirrors placed at strange angles […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[61,226],"class_list":["post-2229005","post","type-post","status-publish","format-standard","hentry","category-politics","tag-artnews-com","tag-crawlmanager"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2229005","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2229005"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2229005\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2229005"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2229005"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2229005"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
![\"Beverly](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2026\/10\/BB0377_1-copy.jpeg?w=400\")
![\"Charlie](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2026\/10\/Corbel-1-Charlie-Engelman.jpg?w=400\")
![\"Claes](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2026\/10\/CO-98-SC_02_SP-copy.jpg?w=400\")
![\"Five](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2026\/10\/5-piece-Arrangement-copy.jpg?w=400\")
![\"Francesco](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2026\/10\/Francesco-di-Giorgio-Judgment-of-Paris-copy.jpeg?w=400\")
![\"Thaddeus](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2026\/10\/TM-67-001-copy.jpeg?w=400\")
![\"Chakaia](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2026\/10\/Booker.jpg?w=400\")
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