Home
Visitor Info
Exhibitions
21c Events
Contact
Media

Currently Showing
Permanent Installations
Past Exhibitions
Beyond 21c

related info › press release

other past exhibitions › All's Fair in Art & War › Lauren Argo: Life as Art › Mikhail Baryshnikov: Dominican Moves › Blue Apple Players: Tableau Vivant › Dan Dutton: Ballads of the Barefoot Mind › El Día de los Muertos (2009) › Dia de los Muertos: Day of the Dead (2008) › Finding Family › Marvin Francis: Prison's Paper Trail › Anthony Goicolea: Ramp › Ross Gordon: Ceremony Series › Ilse Haider: Selected Works 1997-2002 › Photo/Synthesis: James Baker Hall › Hybridity › Nineveh: Ezra Kellerman › Sleepers: Abbas Kiarostami › Paris Kyne: The Colour of Racing › Looking Now › Constant World: Jennifer & Kevin McCoy › Past Highlights › Quesenberry: Here Now, There Then › The Photographs of Dominic Rouse › Everybody Always Thinks They Are Right › Marc Swanson: Beginning to See the Light › Tangled Up In You › Josephine Taylor › Through the Rabbit Hole › UK College of Design: Revitalize Shippingport › John Waters: Unwatchable Series › Mickie Winters: Learning to Bend

21c & UofL Hite Institute present Nineveh:
a sculptural installation by Ezra Kellerman

Located at The Cressman Center for Visual Art
September 16 – October 17, 2009
100 East Main Street
Phone: 502-852-0288
Gallery Hours: W-F, 11-6pm; Saturday 11-3pm; 1st Friday, 11-9pm

 

September 16, 2009 Opening Reception: 6–8pm

October 2, 2009 5:30pm Discussion with artist Prior to First Friday Trolley Hop Center offering extended hours until 9pm

Artist Statement

Vast, hanging plateaus of grass and their direct relationship to the irrigation system suspended above them sharpen the general ideas of conception, growth, and environmental sustenance prevalent in Nineveh. This relationship between the two elements, life-support (irrigation) and organism (grass) is symbolic for the survival of life forms in unnatural and uninhabitable places. As people navigate through the passageways cut through the plateaus, they inevitably come face to face with a stranger traveling the same route but in an opposing direction. A negotiation must be reached between the two people as they stand, unable to pass one another, surrounded by the constrictive, hanging fields. This negotiation and subsequent compromise in how to proceed through the corridors becomes allegorical for the cooperation necessary between human beings to assist and sustain the environment, particularly in places where different cultural groups share the same ecosystem.

-Ezra Kellerman

About the Artist

Ezra Kellerman is a Louisville-based sculptor who returned to Kentucky after graduate study at Louisiana State University. He has twice instructed and assisted at the Museum of Steel Sculpture at Coalbrookdale, England and has exhibited in several group and solo shows in England, Kentucky, and Louisiana.

Commissioned by the International Contemporary Art Foundation, Kellerman started fabricating the work in late May of 2009. The project is a site-specific installation for the Cressman Center for Visual Art and was realized by joint efforts from the Foundation, 21c Museum, the University of Louisville, and the artist.

Commissioned by:

---