The French philosopher Alain Badiou once noted that art “must be as rigorous as a mathematical demonstration, as surprising as an ambush in the night, and as elevated as a star.”1 Few artworks live up to this aspiration better than the solid light films of Anthony McCall.
Linda Ridgway: Intimate Castings of Experience
Linda Ridgway decided to work in bronze 20 years ago, adding her printmaker’s point of view to an age-old medium. She has exhibited widely since 1974, with solo exhibitions at the Dallas Museum of Art, the Glassell School of Art at the Museum of Fine Arts in Houston, the El Paso Museum of Art, Dunn
Learning from New Orleans: A Conversation with Shirley Trusty Corey and Mary Len Costa
While images of Hurricane Katrina and its aftermath are well known, other behind-the-scenes aspects of the devastation have not received much media attention. For instance, what happens to an art community when a disaster like this occurs?
Alastair Noble: Imagination Made Material
Alastair Noble is an English sculptor living and working in New York. His diverse and compelling body of work includes resonant sculptures and installations that invite viewers to engage in a creative collaboration, and in so doing, to undertake their own imaginative journeys into a terrain where material, space, and ideas coincide in objects of
Lee Mingwei: Beyond Labels
The trapezoidal booths made of pale wood and translucent glass have the hushed atmosphere of small chapels big enough for just one worshipper at a time. They encourage you to enter reverently and purposefully, and once inside, you find materials to write a letter.
Zhan Wang: Conceptual Contemplation
There is steadfast and perpetual movement in Zhan Wang’s work. His sculpture can seem to move at the rapid rate of global culture and finance, or it can slow down, like water tracing the first outline of a vast canyon.
Jean Shin’s Accumulations of Ephemera
Jean Shin is a collector, but not of high-end art or antique furniture. Instead, she combs the streets of New York City for objects culled from the detritus of daily life. She claimed curbside refuse—the metal frames and synthetic fabric hoods of cheap umbrellas—to create Umbrella Stripped Bare, a 2001 installation at Long Island University’s Brooklyn
The Powerful Emotion of Light: A Conversation with Mischa Kuball
Artists, like other professionals, sometimes hit key turning points in the development of their work. Such is the case right now for Mischa Kuball, who has built an impressive practice by “generating a certain awareness about streams of interaction in terms of a psychological dimension in urban space and structure.”
Berlin: Sculpture in a Resurrected City
As glossy travel stories and trend-spotters have amply reported, Berlin is the current cool city, alert with youthful vim and optimism and self-defined as “poor but sexy.” Like Paris in the 1950s, New York in the 1980s, London in the 1990s, and Brooklyn last week, Berlin is arguably today’s key creative city.
Life Raft in the Desert: Shawn Patrick Landis’s Rendezvous with Double Negative
Certain works of art are made in anticipation of a future response, as a provocation or, on a deeper level, as a kind of vocation, an inspired calling or a summoning to give voice, as in a future meeting of minds.
