John Van Alstine: Sculpture 1971–2018, heavy and beautiful as a coffee table book, is much more than that. It is a tribute to John Van Alstine’s long career, spanning decades of work in which his sculptures have interpreted urban and pastoral influences, with a nod to the massive undertakings of Land artists such as Robert Smithson and Michael Heizer.
VANCOUVER Various locations The Vancouver Biennale is more than an international sculpture festival—it’s a civic gestalt. Founded by Barrie Mowatt in 2002, it has consistently pushed the envelope in terms of form and content, with works that challenge the sleepy complacency and conservatism that bely the city’s reputation for cosmopolitanism.
Jennifer Steinkamp was one of the first to adopt digital animation software Maya over 30 years ago. Since then, she has used the program to develop a diverse body of digital animations, often at monumental scale, projected onto the walls of museums, galleries, and in public spaces.
EDINBURGH Jupiter Artland As part of a series of presentations at Jupiter Artland (a 100-acre estate and sculpture park on the outskirts of Edinburgh), three artists have “reinvented” some of Kaprow’s actions and ideas, taking over separate spaces to present their work.
NEW YORK Marlborough Gallery “Armario de la Memoria (Storage of Memory),” Daniel Lind-Ramos’s recent
show, featured seven sculptural assemblages that meditate on time, meaning, and memory by means of collecting, gathering, and building.
CLEVELAND Cleveland Museum of Art, Museum of Contemporary Art Cleveland “Invisible Cities,” Liu Wei’s ambitious two-part exhibition, took its name from Italo Calvino’s poetic novel recounting an imaginary conversation between Marco Polo and Kublai Khan, who asks the explorer to describe the cities he has seen on his travels.
Ever since the emergence of the avant-garde in the 19th century, artists have taken creative risks, explored unknown territories, thrust us out of our comfort zones, and upset the status quo. No American artist, however, has used a more wildly eclectic range of methods, materials, images, and ideas than Bruce Nauman to answer the question, “Can this, too, be art?”
La artista plástica rosarina Carolina Antoniadis produce una obra de un impacto visual destacado. Los variados soportes que utiliza para construir espacios lúdicos, ensoñadores, saturados de información cual estética barroca, siempre llevan detrás un eje conceptual vinculado a imágenes de su infancia y su legado familiar como discurso de género.
Thinking the Sculpture Garden: Art, Plant, Landscape offers a radical rethink of how we might interact harmoniously with plants and art in an age of globalization, climate change, and urbanization.
“Still Life with Table consists of pieces, without a hierarchy. It’s not just an arrangement of objects; the thing that it sits on is also part of the sculpture. I have all these forms and parts—things that I make, things that I’ve collected and altered—and they sit around, sometimes for years.”