New York Ace Gallery Critical appraisals of Tim Hawkinson usually revolve around his image as a bizarro California inventor dude, puttering away on his strange thingamabobs. There’s no doubt that Hawkinson is often dazzlingly inventive; his ambitious work over the last decade has rightly earned him a reputation as a singular tinkerer.
The Artist in the Museum: Infiltrating the Collection
Recent exhibitions have continued the distinguished history of artist’s interventions within the realm of the museological….see the full review in July/August’s magazine.
Gabriel Orozco
New York Marian Goodman “What l’m after is the liquidity of things”-so begins a brief article about his films by the Mexican conceptual artist Gabriel Orozco, who likes to improvise with objects off the street. His ironic, casually subversive sensibility was available to the viewer in his second solo show at Marian Goodman, titled“Free Market
Steven Brower
New York Lombard/Freid Gallery Steven Brower, Steam Plant (Boiler and Steam Engine), 1999. Aluminum, brass, copper, and steel, 16.5 x 4.5 x 11 in. and 6.25 x 15 x 15 in. The information kiosk at the entrance to the Lombard/Freid Gallery is the tip-off.
Julie Speidel
Seattle Foster/White The 12 sculptures Julie Speidel assembled for her seventh solo exhibition in Seattle since 1987 affirmed a growing power over a variety of materials but, more importantly, indicated a conquest over all three dimensions that was not always present in her earlier work.
Marcos Ramirez (Erre)
San Diego The Museum of Contemporary Art Located amidst the bustle of downtown city streets, Marcos Ramirez’s 14-foot Acorazado asserts a commanding presence. Painted camouflage gray, the massive sculpted heart blends with the metallic tones of the city environment, while appearing as an unexpected surprise.
Prismatic Visions: An Interview with Rosa Martinez
The curator for SITE Santa Fe 1999, Rosa Martinez, was a member of the curatorial team for Rotterdam’s Manifesta I, curator for the International Project Rooms at ARCO, a participant for Phaidon Press’s Cream: Contemporary Art in Culture, and was the acclaimed artistic director of the 1997 Istanbul Biennial V.
Jonathan Liss
Cleveland The Sculpture Center Location is everything. Jonathan Liss investigates the intersection of this market-derived truism with the institutional practices, dynamics, and the physical site of Cleveland’s Sculpture Center in his installation. The exhibition’s title, “Jonathan Liss; ‘The Sculpture Center,”‘ describes a space of heightened self-reflexiveness, which characterizes Lisss recent projects.
