Splinters were flying onto the floor recently as the artist Arlene Shechet wielded a tool with a whirring blade called an angle grinder. She was carving a massive block of wood that was slowly turning into a sculpture of a woman for her art installation “Full Steam Ahead,” in Manhattan’s Madison Square Park.
Pace Gallery is pleased to announce its representation of sculptor Arlene Shechet. Her first exhibition with Pace is currently anticipated for spring 2019 in Chelsea.
Susan Unterberg speaks with Arlene Shechet and Amy Sherald, both recipients of the Anonymous Was a Woman grant.
I really dig the “hybrid comic clumsiness” that she’s been
Harvesting unapologetically for quite some time. - Phong Bui
A new series of woodblock prints published by the LeRoy Neiman Center for Print Studies, Columbia University, featured at the E/AB Print Fair, 2017
Interview with Arlene Shechet, published by Phaidon in collaboration with The Metropolitan Museum of Art, 2017
Arlene Shechet featured in Vitamin C: Clay and Ceramic in Contemporary Art, published by Phaidon, 2017
Here, Shechet continues to transcend the materiality and conventions that have characterized and burdened ceramics for so long. There is little reason to think she will not accomplish the same with wood. - Chris Murtha
Using these off-kilter constituent parts, Ms. Shechet has constructed what amount to 18 diagrams of cognitive dissonance — or of just how complicated the world is. - Will Heinrich
Shechet is the first living artist to exhibit in depth at the Frick … the installation is a balancing act of respectful and radical. - Andrea K. Scott
When I saw this pristine exhibition, I immediately wanted to write about it, but about five seconds later I realized that there was almost no way to write about such smartly executed and potent sculptures without lapsing into babbling nonsense. - Benjamin Sutton
Arlene Shechet’s craggy sculptures might not seem an ideal fit for the Phillips Collection, known for its sunny Renoir and serene Rothkos. The New York artist’s creations are whimsical and wildly asymmetrical, a riot of shapes and textures. Squares, circles and tubelike projections stud the somewhat organic forms, and assure that the pieces appear different from every possible vantage. - Mark Jenkins
Sculptor Arlene Shechet sits down with host Will Corwin to discuss the wide range of her current exhibitions: Porcelain, No Simple Matter, on view through April 4, 2017, at The Frick Collection, Turn Up the Bass at Sikkema Jenkins & Co, and From Here On Now at Phillips Collection in Washington DC, through May 7, 2017.
Curator's Choice segment: Arlene Shechet at The Frick Collection
Artists on Artworks—Arlene Shechet : See The Met collection through artists' eyes. Each artist discusses works of art in the collection that hold personal meaning or relevance to his or her artistic process.
Her installation devices, too - her placement of objects not just in but on and underneath her vitrines, for example - recall her interest in the base on which a sculpture stands. There is much to be thought about in this marriage of a traditional industry with a contemporary artist's concerns. - David Frankel
“Porcelain, No Simple Matter” [is] a radical and rowdy rethinking of the precious ... Unencumbered by formality, the pieces come alive. - Meghan Dailey
Shechet’s inventive and idiosyncratic installation in the Frick’s light-filled portico gallery ... and the dialogue it sparks between classicism and improvisation, nature and art, luxury goods and the processes of industrial production, brings these historic works vividly to life as never before. - Leslie Camhi
Oh but to be a Royal Meissen porcelain, handled with the most tender of care and on lofty display, in Henry Clay Frick’s magnificently appointed mansion. We are invited to inhabit the interior lives of these stately objects in “Porcelain, No Simple Matter:
Arlene Shechet is curious about the obscured origins of industrial objects, folding clues about production processes into her handcrafted ceramic sculptures. Watch
[L]ike European Baroque and Rococo sculptors, she is drawn to spirals and vortices, imparting to her works an often wild drama. To experience her sculptures properly, one must walk around them more than once, for odd gravities and complex surfaces impart multiple identities. - Faye Hirsch
Among this year’s [College Art Association (CAA)] winners are Arlene Shechet, who had a critically acclaimed ICA Boston show in 2015.
One feels there’s a complete embrace of the bodies of all things—humans, animals, vegetables, landscapes, architecture, and so on—which are drenched with [Shechet's] reconciliation of multiplicity, fragmentation, and change.-Phong Bui
The intelligence [that she brings to the form] seems almost bacterial to me ... these works metaphorically and literally digest and ferment all of the things that they’ve stood on while being developed—including the trial and error, the accidents of their own histories, and the histories of pieces that came before them. - Heather Kapplow
In her latest, largely terrific exhibition, Arlene Shechet continues to expand upon the ceramic vessel as a one-stop art medium that combines painting and sculpture while pushing her work in increasingly diverse directions... Read More
Review by Lindsay Preston Zappas
A very good, still-under-known mid-career sculptor, Shechet makes forceful painted, glazed, and raw primal shapes of clay and porcelain set on almost Cubistic primary forms. Read more
New York, March 28, 2011 -- The American Academy of Arts and Letters announced today the seven artists who will receive its 2011 awards in art.