Celebration, people, relationships, surroundings: In different ways, pretty much all of Deller’s work includes these crucial elements; elements that bob and weave through this quirky, good-natured, and rather lovely looking book, designed by another regular Deller collaborator, Fraser Muggeridge Studio.
William Turnbull: International Modern Artist, a lavishly illustrated monograph conceived by the Turnbull Studio, marks the centenary of the renowned Scottish sculptor, who was born in 1922.
What is the obvious but overlooked link between the Paleolithic cave paintings of Lascaux and the sandcast bas-relief sculptures of Constantino Nivola, Paul Rudolph’s Yale Art and Architecture Building, and Mary Martin’s relief for the Sixth World Congress of the International Union of Architects?
Kim Levin’s ELSEWHERE: The Tainted Garden and Other Essays on Art, Life, and the Anthropocene consists of 35 essays written between 1991 and 2017 and never published in the U.S. Ambitious in scope, this volume provides constructive commentary and clarification for our era of rapid change in both art and life.
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.
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.
Reading Unfold This Moment, the Berlin-based critic Martin Herbert’s compact history of Carol Bove’s two-decade career, it struck me that I’ve seen a lot more of Bove’s work first-hand than I’d perhaps realized.
Sculpture portable enough to fit in the palm of your hand, inside a pocket, or tucked into a wallet can also be invested with enough narrative power to tell an epic story. The newly published catalogue, The Scher Collection of Commemorative Medals, proves that sculpture the size of a silver dollar can assume the presence of something monumental.
Robert Murray says that after he arrived in New York as a young man in 1960, “I forgot to go home.” It’s a good thing he didn’t return to his native Saskatoon, for he would likely not have begun to produce the sculptures for which he is now forever known.