Grisha Bruskin

New York Marlborough Gallery Grisha Bruskin, Woman with Lenin’s Mausoleum, 1999. Porcelain, 8 in. high. Staring straight ahead with blank, unseeing eyes, Grisha Bruskin’s perfect figures are identifiable only by the objects they carry. Like a blank slate waiting to be written on, they stand motionless, soulless, and powerless awaiting orders: gray, robotic, expressionless people

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Gabriele Stellbaum

New York Florence Lynch Gallery ln her first solo exhibition, Gabriele Stellbaum, a German artist living in New York, showed strong and exciting new work. A young artist experimenting with new media to great effect, she uses computer-generated imagery to create sculptural installations.

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“Acoustic Architecture—Architectural Acoustics”

Amsterdam De Veemvloer lnstallation view of “Acoustic Architecture- Architectural Acoustics,” at De Veemvloer. Amsterdam’s Stichting Vedute (Vedute Foundation) recently held the exhibition “Acoustic Architecture- Architectural Acoustics, ” which required works to meet specifications set by guest curator Frans Bevers: “[Artists should] visualize their personal preoccupation with sound and space into the confines of 44 by

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Sculpture and Architecture

Atlanta “Architecture?”Vaknin Schwartz Gallery“From Our House to Your House”Nexus Contemporary Art Center“Landscape-City: Photographs by Arwed Messmer”Goethe-Institute Atlanta“thinking loud/cutting through: architecture.art.film”Space 1 181 Kerry Schuss, 838 S. Broadleigh/Two Views, 1999.

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Margaret Adachi

Santa Monica Robert Berman Gallery Things aren’t always what they seem. ln fact, in consumer culture they’re usually better. At least that’s what Margaret Adachi’s new installation, Pret-a-poulet, suggests. Exploring the chasm between reality and what the philosopher Jean Baudrillard calls hyperreality, Adachi parodies the processes by which consumer products both spearhead market desire and

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