Born in Britain, Ellen Harvey lives and works in Brooklyn, NY. Her work has been included in the Whitney Biennial and exhibited at numerous institutions, including the Barnes Foundation, the Corcoran Museum of Art, and the Bass Museum.
La obra de Analia Hahn transita distintas materialidades: desde la aparente fragilidad de lo textil hasta la contundencia de los materiales industriales. Con temas claves en su producción artística tales como la incomunicabilidad, la soledad y la individualidad que lucha por sostener su identidad entre la “sociedad mundial,” la artista busca alimentar el plano de
Working at the intersection of tradition and innovation, and of Eastern and Western aesthetics, Li Hongwei brings ceramic vessels into the realm of abstraction. By combining ceramic with stainless steel, he joins fragility to solidity. Before the beginning of history, the former medium transformed civilizations around the world, while the latter has ties to industry,
Matthew Angelo Harrison met me at Stanford University’s Automotive Innovation Facility on a brisk day in February. Surrounded by oak trees on the edge of campus, the building is clad in green corrugated metal. Inside, it is a bright, clean space with six garage bays; it looks more like a lab than a body shop.
Claudette Schreuders is a South African artist based in Cape Town. Her work has been exhibited in many institutions internationally, including the Museum of Modern Art in New York, the Smithsonian Institution, the British Museum, and the Metropolitan Museum of Art.
Tauba Auerbach, whose aesthetic investigations break the mold, has described her work as an attempt to reveal “new spectral and dimensional richness…both within and beyond the limits of perception.”
Helena Hamilton, a young Northern Irish artist based in Belfast, extends the scope of sculpture by eliding drawing, installation, performance, sonic art, and interactive digital media. Meditative, immersive, and atmospheric, her interdisciplinary work places everyday physical objects such as neon tubes in counterpoint with the immaterial and the intangible.
When Jacob Hashimoto entered the School of the Art Institute of Chicago, he planned to become a Minimalist painter like Robert Ryman, Brice Marden, or Agnes Martin. At one point, he ran out of ideas and just sat by his easel.
It makes total sense to learn that Red Grooms was helped on his way toward his distinctive sculptural forms by an oddball comic strip. Smokey Stover, so named for the central character, featured a fireman who always wore his helmet back to front, and it got the attention of Charles Rogers Grooms, a Nashville schoolboy with a phobia about fire.