"Mosley is almost 100 years old and still does everything solo, jiggering things and putting everything into place himself. I'm impressed by his integrity-it would seem superhuman even at 40! The surface of this work has a repetitive motion you can get lost in, and I love the closeness it bears to the original tree. His studio in Pittsburgh is full of large tree trunks. He says they become sculptures when they are ready."
"Johnson speaks about how the addition of plants in his work encourages people to inspect them closer, drawing them in. I also love its worked surface; you can tell he's working in clay before casting it in bronze. There's an element of care that people don't often consider with outdoor sculpture-many works in Storm King's collection must be constantly treated because they're outdoors. I think the same of this work."
Nora Lawrence, executive director of Storm King Art Center and a 13‑year curator and commissioner of outdoor sculpture, favors three‑dimensional works at Art Basel Miami Beach. She selected Thaddeus Mosley's Oval Continuity, noting his near‑centenarian solo practice, tree‑derived forms and meditative repetitive surface. She highlighted Rashid Johnson's Untitled Totem for its plant integration, worked clay surface and the conservation care required for outdoor bronze castings. She included Mary Ann Unger's Untitled for its heart‑like, intuitive abstraction and feminist associations with Louise Bourgeois and Lynda Benglis. She also chose Saif Azzuz's work, linked to Storm King's residency program.
Read at The Art Newspaper - International art news and events
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