Inicialmente con estudios en el campo de las relaciones publicas (UADE, Buenos Aires), la artista Cecilia Nigro se incorpora al mundo de las artes pláticas a través de la cerámica.
Anita Molinero
PARIS Musée d’Art Moderne Molinero’s approach is to melt her appropriated objects, a creative process that, like more traditional methods involving marble or bronze, is intimately linked to an act of destruction, or rejection.
Mariana Castillo Deball
LONDON London Mithraeum Bloomberg SPACE The Column of Conglomerates is built from lump-like components that cannot be separated—a clear allusion to archaeological finds in which coins, pins, and crumbled fragments are lodged together with larger unidentified masses of fused material.
Margarita Cabrera
SAN ANTONIO, TEXAS McNay Art Museum Margarita Cabrera’s socially engaged works—often communal projects addressing themes of national identity, hybridity, migration, and sacrifice—draw on the concept of nepantla, a Nahuatl word meaning “the space in the middle.”
Wonderment and Reflection: A Conversation with Coral Penelope Lambert
Recipient of the 2022 Outstanding Educator Award Coral Penelope Lambert, Professor of Sculpture and Director of the National Casting Center Foundry at Alfred University, produces process-based, often performative and site-specific work that combines her background as a formalist steel sculptor with her passion for iron casting.
Reena Kallat
WARWICKSHIRE, ENGLAND Compton Verney Kallat’s highly political work is not didactic but open and suggestive in a manner that leaves visitors asking themselves more questions about what a “Common Ground” might mean for humankind today.
Material Histories: A Conversation with Anoli Perera
Anoli Perera, a self-taught artist who divides her time between New Delhi, India, and Colombo, Sri Lanka, is not afraid to range across different mediums and materials. The lack of a formal art education has given her the courage to experiment, veer off into new directions, and express herself freely.
Object Lessons: Kenneth Tam
The title, Why do you abuse me, comes from a book of English-language phrases given to Chinese laborers who were traveling abroad in the mid-19th century. I was struck by the directness of the question and how matter-of-factly it presented an uncomfortable truth.
Connecting Wall
What is the obvious but overlooked link between the Paleolithic cave paintings of Lascaux and the sandcast bas-relief sculptures of Constantino Nivola, Paul Rudolph’s Yale Art and Architecture Building, and Mary Martin’s relief for the Sixth World Congress of the International Union of Architects?
Barbara Chase-Riboud: Carving Routes Toward Liberation
Recipient of the 2022 Lifetime Achievement in Contemporary Sculpture Award With their architectural aura, their weaving between fluid and solid, supple and clenched, Barbara Chase-Riboud’s sculptural works stage convergences that unsettle while inducing awe. Her intimate juxtaposition of unlike substances triggers creative friction, sparking an alchemy that feels strategic as it fractures narrow categories.
