Little things mean a lot to Sarah Sze. In her kaleidoscopic installations teeming with found objects, disjunctive arrays of familiar ephemera—tied, clamped, taped, and cantilevered with deft architectural and engineering savvy—hold aloft fragile universes. Sze’s work is about the finite and the infinite, the mundane and the sublime, time and timelessness.
Until recently, Nicole Eisenman was best known as a figurative painter. Crafted with thick painterly brushstrokes, the bodies in her paintings oscillate between representation and abstraction, bright colors intertwined with neutrals and, more often than not, the pallid yellow skin tones we associate with seasickness.
In her paintings, sculptures, animations, and site-specific installations, Iranian-born artist Shirazeh Houshiary often employs a process of meticulous repetition in order to create forms reminiscent of webs or networks. While her paintings weave together minute lines of words in Arabic script, generating abstract waves in pictorial space, her newest sculptures, built from glass bricks, physically
NEW ORLEANS Contemporary Arts Center “Hinge Pictures: Eight Women Artists Occupy the Third Dimension” took its starting point from a few lines in Duchamp’s La Boîte Verte (The Green Box)—the companion piece to his Bride Stripped Bare By Her Bachelors, Even otherwise known as The Large Glass—published in 1934: “Perhaps make / a hinge picture.
LONDON Tate Modern Kara Walker’s Fons Americanus, created for Tate Modern’s Turbine Hall, is a brilliantly trenchant and brutal anti-monument to Britain’s shameful, often overlooked role in the slave trade.
Manav Gupta affirms the age-old sanctity of earth and clay, assembling everyday objects made by potters from across India to create huge installations that convey hope, passion, and the journey and transience of life.
NEW YORK Pace Gallery The 14 large sculptures in the suggestively titled “Skirts,” Arlene Shechet’s recent exhibition, appear to have both hidden and overt agendas. The title word, as noun and verb, conveys ideas of outskirts and borders, as well as dodgy movement; it also describes an item of female clothing and can double as (disrespectful) slang for women themselves.
In a 1972 Artforum essay, Robert Smithson observed that “when a finished work of 20th-century sculpture is placed in an 18th-century garden, it is absorbed by the ideal representation of the past, thus reinforcing political and social values that are no longer with us.”
PF: In the early 1980s, opportunities for artists to engage with projects out of the gallery system were few, and the public art movement was at its very beginning. With no textbook, I started to explore how to initiate, negotiate, secure funding for, and organizationally deliver public art projects.
Peter Fink, who was born in London and grew up in Czechoslovakia before returning to England’s capital city, is known for large-scale interdisciplinary collaborations. His public art projects, which have been realized around the world, draw on environmental design, architecture, and urbanism in order to show how art can reimagine cities.