Judith Shea, a notable presence on the New York sculpture scene since the 1970s, seemed to have unaccountably withdrawn from it some 10 years ago. Her last major work to attract critical notice was an enigmatic equestrian sculpture carved in wood, stained black, and, in September, 1994, sited on 59th Street, just southeast of Central
Those who read the finance and science pages of their newspapers know that Bristol-Myers Squibb defines itself as “a global pharmaceutical and related health care products company whose mission is to extend and enhance human life.” Traditionally,
Beth Galston, Ice Forest, 2000-2003. Urethane resin and monofilament, 8 x 8 x 4 ft. In the early 1960s sculpture went electric. Dan Flavin’s assemblages of linear fluorescent light tubes, arranged as pillars or box constructions, transformed the medium of sculpture from mass into luminescence, competing with painting’s ability to model light with color.
Katarzyna Kozyra, The Rite of Spring, 1999/2004. Six-channel video installation; color, sound. The 54th Carnegie International opened with a gala, red carpet celebration at the Carnegie Museum of Art with Peter Fonda, John Waters, and Baron Phillippe and Baroness Marion Lambert in attendance.
For all the talk about how the art world is really an industry and how artists should think of themselves as being in business, actual examples of corporate behavior in the fine arts often comes as a surprise.
I met Una Walker a year before her graduation from Ulster Polytechnic, supervising her thesis and watching her construct a kind of floor sculpture-cum-installation (Finite and Bounded) at Lombard Street, Belfast. In the tight wires and exact geometry of this work, which sat at the end of an elongated room like an altarpiece, I recognized some dominant qualities—precise