D’Amelio Terras, New York
January 11 – February 15, 2003
Carl Andre
Polly Apfelbaum
Louise Bourgeois
Tony Feher
Peter Fischli and David Weiss
Katharina Fritsch
Roni Horn
Felix Gonzalez-Torres
Donald Judd
Rei Naito
Cornelia Parker
“Stacking is a basic and primal activity. You put children in a room with some things, and they stack them on top of each other. It’s something that humans do.” – Tony Feher, “An archeologist of his own life,” interview with Adam Weinberg, 2001
“Well, if you think of the stacks, especially the early stacks, that was all about making these huge, public sculptures. When I started doing this work in 1988-89 the buzzword was public art. One thing that amazed me was that the difference between being public and being outdoors was not spoken about. It’s a big difference. Public art is something which is really public, but outdoor public art is something that is usually made of good, long lasting material and is placed in the middle of somewhere, because it’s too big to be inside. I was trying to deal with a solution that would satisfy what I thought was a true public sculpture, and that is when I came up with the idea of a stack.” – Felix Gonzalez-Torres, interview with Robert Storr, 1995
“At the time of The Enigma Machine I was still working in what would be more conventionally considered sculpture. But I began with dyed fabric, 2-d stuff. So the ideas of stacking and folding were important in going from two to three dimensions, allowing works to open and close. It is interesting given that The Enigma Machine is a coding device, something that opens or shuts off meaning. Other themes had to do with habits and order, routines and reiteration. Folding, stacking or re-arranging were all simple devices I used to create formal possibilities for my work.” – Polly Apfelbaum, 2003
