Judy Pfaff’s installations confront sculptural and architectural concepts-mass, scale, inner and outer space, multiple perspectives-yet they also contain raw emotional and sensory chords that may surprise and confuse viewers. Born in London, Pfaff earned a BFA from Washington University in St.
Louise Bourgeois, Nature Study, 1986. Marble, 33 x 28 x 21.5 in. Janet Fleisher Gallery, Philadelphia. Stone is both a burden and a source of inspiration for sculptors because it carries with it associations of permanence, purity, monumentality, beauty, and decoration.
Philadelphia Jeffry Faust and Ray Young, Post and Beam, 1997. Mixed-media installation. One window at a time, Philadelphia is being transformed. Where once graffiti reigned as the dominant art form, a different vision now confronts those who by chance or design find themselves encountering some very different marks on the city’s facade.
New York Nick Crowe, Graham Parker, Ian Rawlinson, Mugger Music (detail), 1997. Traditionally, public sculpture has been concerned with the search for an appropriateness between an object and a specified civic environment. In Britain at least, a broadening of debates about the nature of public space and some enlightened moments in the allocation of public
Maria Elena Gonzalez, The Persistence of Sorrow (detail), 1996. Wood, rubber, Braille, vaseline, and tile, 14 x 18 x 22 ft. Some say that New York is not the center of the world. I disagree. As I type these words into my computer this early morning, alone in my study on the Lower East Side,