“I moved to South Africa in order to find another way of working, one which can make a substantial difference to other people’s lives,” Liza Lou says. Her recent barbed-wire-topped cages and disintegrating prayer rug reliefs have glistening glass surfaces that draw attention to borders and skin.
The Labyrinth in the Tower: A Conversation with Diana Al-Hadid
Syrian-born Diana Al-Hadid lives and works in Brooklyn, New York. Her first New York solo exhibition, “Reverse Collider,” takes its title from sources that range from Pieter Brueghel the Elder’s historical vision of The Tower of Babel (1563) to the futuristic-looking Large Hadron Collider or particle accelerator at CERN, in Geneva, which seeks to find “the god
Brave New Art: The Sculpture of Anselm Reyle
Anselm Reyle has enjoyed one of the swiftest art scene careers in recent years. His works are in famous private collections, appear in the best galleries, achieve record prices at auctions, and feature in important exhibitions like the critically acclaimed “Unmonumental” at the New Museum in New York.
More Famous than John Dillinger: A Conversation with Robert Indiana
Robert Indiana didn’t invent love, but he did make the word synonymous with the pot-smoking, love-making, anti-war counterculture of the ’60s, which morphed into the museum-going, art-buying public of the ’80s. Today, Indiana’s LOVE sculpture—in English, Hebrew, and other languages, in varied scales, and in finishes from burnished Cor-ten steel to mirrored, polished stainless steel to bright
Rock Star On Tour: Damien Hirst’s Skull at the Rijksmuseum
For just over a month (November 1–December 15, 2008), Amsterdam’s Rijksmuseum acquired a new art chapel, an almost pitch-black, 30-square-meter room housing Damien Hirst’s spotlighted skull, For the Love of God (2007). I entered the space after taking part in what was almost a procession.
Josh Garber: Intuitive Strategies
The relationship between artists and their work is always peculiar: it inhabits a territory formed of equal parts magic act, charades, and the ventriloquism of influence. Josh Garber’s sources and end points are firmly located within this three-part territory.
Cris Bruch: Beyond the Street
A rejection of politicized subject matter in favor of abstract, autonomous, and independent-object sculpture is the key to unlocking the art of Seattle-based sculptor Cris Bruch. In 1991, Bruch made a clean break with his performance-based installations and object-conglomerations addressing social issues.
Humor, Sex, and Philosophy: A Conversation with Rachel Feinstein
Rachel Feinstein’s quirky humor and aesthetic playfulness made her recent show at the Marianne Boesky Gallery in New York a great change of pace. Humor is often the most direct way to confront the artist’s favorite issues, which include sex and religion.
Models of Things: A Conversation with Chris Burden
For over a decade, Chris Burden has been making sculptures that study the relationship between reality and imagination, exploring the nexus between the factual and its artistic twin, the fictive. With the unveiling in New York of his colossal skyscraper sculpture, What My Dad Gave Me (2008), Burden presents, for a second time, an artwork that literally
Consuming Beauty: A Conversation with Amie Dicke
Amie Dicke has been the subject of countless articles in the fashion press since she began to exhibit in her native Amsterdam. Ironically, her work is not, as many art critics argue, a traditional feminist denunciation of Western beauty standards.
