For more than 20 years, Bonnie Collura has pursued a sculptural agenda that incorporates wildly diverse materials and processes while also drawing on a wide array of references—everything from the pop cultural worlds of cartoons and movies like Star Wars to highbrow texts such as Niccolò Machiavelli’s The Prince and Mary Shelley’s Frankenstein.
Tracey Emin shot to fame when My Bed (1998) was shown at London’s Tate Gallery in 1999 as one of the shortlisted works for the Turner Prize. The sheets marked with bodily secretions, the used condoms, and the menstrual-stained underwear sent critics into an uproar, and a media furor ensued.
Focalizando en la investigación de proyectos que establecen vínculos entre los elementos constitutivos, con especial atención en la luz y el color para componer el eje del relato de sus obras, el artista plantea instalaciones donde la escultura es un recurso para explorar la relación establecida entre el espacio y los objetos.
Bijl tackles a vast array of subjects through his interventions, ranging from entertainment and fashion to illness, politics, utopias, and ideals, as well as a considerable emotional spectrum, veering from melancholy, dread, and boredom to hilarity.
Over the course of a remarkable career, Argentinian artist Luciana Lamothe has developed interactive installations of monumental proportions in which architecture, design, and structural tension lead viewers on dynamic journeys that reflect on material stability.
Glasgow-based Karla Black is known for boundary-pushing experiments with materials, both conventional and less so. Though her installations employing toothpaste, cosmetics, and powdered custard might come to mind first, plaster powder—albeit frequently in raw form—remains her primary medium.
Jamie Hamilton’s work encompasses photography, drawing, high-wire walking, and, of course, sculpture. His large-scale, site-specific installations (2012) for the Center for Contemporary Art in Santa Fe, New Mexico, incorporated nylon webbing and steel poles, creating forms suggestive of both interplanetary travel and the complexities of erotic attraction.
For the past five decades, Joan Tanner has pursued a rigorous and sustained investigation into spatial relationships via methods of concealment, combined with ideas of instability, impermanence, contradiction, and disruption.
“Making Amends” started with a broken laundry basket—a mass-produced, disposable product that, once broken, is designed to be thrown away and replaced, not fixed. The handle cracked, and my first thought was to buy another one.