“New Moons” spotlights the unique and influential observe of one of the crucial celebrated artists working right this moment. Presenting over 60 sculptures and wall works remodeled the previous 15 years, in addition to a brand new fee, “New Moons” illuminates the numerous traces of inquiry—together with research of being, the pure world, the cosmos—that converge and discover new associations in Verzutti’s extremely tactile creations.

The works on view mirror Verzutti’s signature observe of cross-pollinating natural buildings with references to the artwork historic canon, myriad types of sentient life (plant, animals, people), the cosmos, and client objects. Supplies reminiscent of stones, greens, and tropical crops are modeled and playfully recombined with allusions to Brazilian artists reminiscent of influential modernists Tarsila do Amaral (1886–1973) or Maria Martins (1894–1973) and iconic works like Jeff Koons’s Gazing Ball sequence, Constantin Brâncuşi’s Countless Column, and lots of others all through artwork historical past. Verzutti’s works alchemize references into unique and creative new types that always level to their very own making by bearing the hint of the artist’s hand—generally even her fingertips. This physicality carries by way of in three-dimensional wall works which have been molded, painted, and sunken into, showcasing Verzutti’s technical ability and exploration of supplies throughout a variety of media. 

“Persevering with CCS Bard’s dedication to supporting essentially the most experimental and creative inventive practices, ‘Erika Verzutti: New Moons’ speaks to the boundless potential of cultivating an intimate dialog with the historical past of artwork,” mentioned Tom Eccles, Government Director of the Middle for Curatorial Research, Bard Faculty. “The presentation of Erika Verzutti’s work continues CCS Bard’s revolutionary method to monographic exhibitions by artists working within the worldwide sphere.” 

Cornell notes, “Verzutti’s observe provides an anti-taxonomy for being, one which rejects autonomy and hierarchies in favor of reinvention and ongoing recombination. In her work—marked by multiplication and copy—moons recur, as symbols of rebirth and the a number of phases and cycles that one entity, or artwork object, can have.” 

The exhibition opens with Disaster of Sculpture, newly commissioned for the exhibition, and a choice of Verzutti’s wall reliefs, intimately scaled works that straddle between two and three dimensionality and that construct upon a variety of artwork historic references and inspirations. Highlights embrace Homeopatia Mondrian (2020) and Van Gogh with Eggs (2015), each of which recall the signature types of the 2 iconic painters with egg–like shapes and impressions inserted, as if to nod to the fertile floor that historical past can present for the creation of recent work. 

In the primary exhibition gallery stands what the curator refers to as a “parade” of sculptures representing a cross–part of Verzutti’s observe since 2005. The parade begins with Cemitério com Franja (Cemetery with Fringe) (2014)—a part of an ongoing sequence of “cemeteries” composed of detritus from the artist’s studio—which presents 632 items of refuse rearranged in a mysterious new configuration. It then processes by way of over 30 works of varied scales and materials mixtures that intermingle animal, plant, artwork, and architectural references—every imbuing sentience into new types that brim with life and liveness. Some objects are distinctive: for example, Henry Branco (2010), a miniature bronze abstraction, twisting to look at a protuberance on its bottom, like an unnamable creature coming to sense its personal physique for the primary time. Others are a part of open–ended sequence, like her Venuses, an ongoing reimagining of the Paleolithic Venus of Willendorf—right here, turned the other way up, in a headstand—and her works from her Tarsila sequence, seen in Swan with Hammer (2013) and Tarsila with New (2011). Surrounding the central show are wall sculptures that recall the climate and the environment—seen within the three Churros (2022)—whereas others evoke the planetary—within the eggs and ovoid impressions and astral gatherings of Boyfriend (2014), Pores and skin Moon (2019), and Marshmallow Amazonino (2019), altogether suggesting an encircling cosmic order all her personal.

Additionally on view is a particular presentation of sculptures from the sequence “Brasilia,” marking a uncommon alternative to expertise a number of works from this signature household of labor—every a slight modification of the spiky tropical jackfruit. Amongst them are: Brasília TV (2011), a jackfruit with a sq. house reduce into it, as if to suit a monitor, and Brasilia Acustica / Acoustic Brasilia (2011), a fruit with a slender slit. They sit alongside Brasilia Joia / Jewel Brasilia (2011), Brasília Parede / Brasília Wall (2011), Brasília Skate (2011), and Brasília Quitanda (2010). Reflecting upon the dichotomies inherent in her residence nation, the sequence explores the violence and fantastic thing about the capital metropolis’s Modernist urbanization by way of the metaphorically sharp rind and supple inside of a spiny jackfruit. 

Steeped in citations of Brazilian artwork and structure, the tropics, and theft and counter–theft in artwork historical past—to not point out current–day life, encompassing studio refuse, paintbrushes, course of, and wonderment—Verzutti’s artwork seems to be askew at standard classification and set hierarchies. In undoing them, she presents her personal anti–taxonomy of being, type, and collectivity.

at CCS Bard, Annandale-On-Hudson
till October 15, 2023