Love, Hope, and Socialism: A Conversation with Camiel Van Breedam

Belgian artist Camiel Van Breedam launched his career in the late 1950s, when peinture informelle (abstract gestural painting) was still going strong. At an early stage, he made the leap from abstract geometric painting, with an emphasis on matter, to assemblage sculpture and collage—works, both formalist and historicizing, made from ordinary laborer’s tools and the remnants of shuttered factories, and often fraught with meaning.

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Going Public

Public art has undergone epochal shifts over the past half century, as Joyce Pomeroy Schwartz tells (and shows) us in The Private Eye in Public Art. A memoir and informative survey (but not a history, she says), the book demonstrates that she was in the thick of things from the 1970s onward.

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Grenville Davey: Duality Paradoxes

“People are not naïve in the way that they approach objects,” Grenville Davey told British cultural critic Tim Marlow in 1993, “but there are other possibilities, however oblique.” Davey’s sculpture deals with those “other possibilities,” particularly the place of the human within the physical world as material fact.

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Gianni Caravaggio

TURIN, ITALY Galleria Civica d’Arte Moderna e Contemporanea di Torino “Seed,” as image and word, is just one metaphor in a show where metaphors proliferate. In this way, Caravaggio addresses complex phenomenological, cognitive, and artistic concepts with paradoxical lightness and simplicity.

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