At a 2006 solo exhibition at Howard House, Seattle artist Dan Webb displayed a carved wooden balloon in the form of a heart. I Love You solidly captures the buoyancy of a helium balloon while hinting at its brief life expectancy: like people, balloons and their sentiments expire.
Forum: The New Acropolis Museum
If architecture can be seen as sculpture writ large, the New Acropolis Museum in Athens qualifies as a fine example of the form. Housing works so splendid that they echo with meaning millennia after their making, a building of such singing grace, that calls attention to its contents rather than itself, is like a gift
Private Voice, Public Benefit: Lois Teicher
Lois Teicher’s Curved Form with Rectangle and Space (2000) is just what its title describes, a gently bowed piece of sheet steel rising 14 feet from the ground, painted pure white, with a tall, narrow rectangular space cut out of it just to the right of center.
Evidence of Being: A Conversation with Richard Humann
While Williamsburg can claim no movement as its own, the inventive sculpture of Richard Humann reveals what made the hip Brooklyn neighborhood a creative escape from art world institutionalization and commercialization in the 1990s. Although Williamsburg has recently succumbed to development pressures, driving out mid-level artists at crucial stages in their careers, Humann retains his
The Sculpture is Never What You See: A Conversation with Nicola Bolla
Nicola Bolla’s sculptures have many peculiarities, foremost among them, his choice of materials and subjects. He uses Swarovski crystals, playing cards, and glass to create macabre relics such as skulls, tibias, and skeletons; symbolic objects such as ropes, axes, and chains; and animals, including domestic cats, panthers, parrots, ostriches, and unicorns.
Pipe Dreams: A Conversation with Fergus Martin
Dreamscapes are often the subject of artworks, and Fergus Martin’s Pipe Dreams 2 takes dreams to a fundamentally visual level with a “floating raft of color in space.” But how was this visual solution achieved, and what decisions did Martin make when creating the work?
Northern Inspirations: A Conversation with Steve Dilworth
The site where an artist lives often provides inspirational material for his or her work, and such is certainly the case for Steve Dilworth. He has spent the past 25 years on the North Atlantic coast of the Isle of Harris in the Outer Hebrides in northwest Scotland, roughly equidistant from London and Iceland.
Performing Sculpture: A Conversation with Elizabeth King
Elizabeth King combines meticulously built figurative sculptures with stop-frame film animation in works that blur the perceptual boundary between actual and virtual space. Intimate in scale—she speaks of a theater for an audience of one—and distinguished by a level of craft that solicits close looking, the work reflects her interest in early clockwork automata, the
The Emblematic World of Joan Danziger
Joan Danziger’s uncanny sculptures do not fit into today’s fashionable art scene. Conjuring mythic, almost romantic worlds, they are the exception that proves the rule of the spiritual crisis that Donald Kuspit sees in contemporary art.1 Robert Rosenblum’s argument in Modern Painting and the Northern Romantic Tradition (1975) also comes to mind.2 In his alternative
The Daimler Art Collection: A Conversation with Renate Wiehager
Originally formed in 1977, the Daimler Art Collection includes about 1,800 works by approximately 600 German and international artists, focusing on abstract and geometrical painting. In the 1980s, the collection also began acquiring sculpture by internationally recognized modern and contemporary artists, including Jeff Koons, Heinz Mack, Keith Haring, Nam June Paik, Robert Rauschenberg, and Mark
