2005 was a signal year for Seattle artist Katy Stone: her first solo museum exhibition, including a site-specific installation on view for 10 months at the Boise Art Museum (BAM); her inaugural solo appearance in New York, plus one-woman gallery shows in Seattle and Manhattan Beach, California; and a handsome, full-color catalogue of recent work
From Line to Mass: A Conversation with William Tucker
William Tucker had already established a significant career as a sculptor in England when he moved to the United States in 1978. He was included in the seminal “New Generation” exhibition at the Whitechapel Art Gallery in London in 1964 and represented Britain at the 36th Venice Biennale in 1972.
The Alien Sculpture of Kwang-Young Chun
Historically the mulberry plant has played an essential role in Korean life and culture. Throughout the Jeossun Dynasty (1392–1910) and during the years of the Occupation, mulberry was used to make paper pulp that would eventually be transformed into a strong, translucent paper, suitable for printing, wrapping, or both.
Game Theory: A Conversation with Patrick Tuttofuoco
Andrea Bellini: Since your first works, including Famiglia (Family, 1998), Criceto (Hamster, 1999), Scooter (1999), and Otto (Eight, 2000), your method has included the involvement of the public, your friends, and your relatives. Why?Patrick Tuttofuoco: I’m specifically interested in the idea of the group, the nucleus, the organism.
Personal Structures: Johannes Girardoni and Nelleke Beltjens
Stylistic concepts always carry the danger of confining artworks too much. In exhibition reviews, the works of Johannes Girardoni and the sculptures of Nelleke Beltjens are regularly referred to as “Minimalist.” If, by Minimalism, you understand the use of simple, basic plastic forms and the application of structural features such as serialization, repetition, and symmetry,
Fragile Simplicity: A Conversation with Yuki Nakamura
Since moving to Seattle from the small Japanese town of Shikoku in 1995, Yuki Nakamura has transformed Northwest abstraction into a minimal, unembellished art form. Beginning with her anthropomorphic porcelain sculptures, Nakamura’s abstraction has evolved into a performative gesture.
Sculpture in the Everyday World: Akira Sakai
One doesn’t simply look at the work of Akira Sakai. Instead, one becomes involved in it, wrapped up and embraced by something that demands to be considered. With express intentions to penetrate the domain of everyday life, the artist has set out to envelop senses both inside and outside the gallery.
Evolutionary Imagination: A Conversation with Lawson Oyekan
Born in London in 1961, Lawson Oyekan grew up in his parents’ native Nigeria. In 1983, he returned to England to study at the Central School of Art and Design (1985–88) and the Royal College of Art (1988–90).
In Art, Anything is Possible: A Conversation with Yinka Shonibare
Visually arresting, Yinka Shonibare’s art plays imaginatively with stereotypes about race, class, culture, gender, and sexuality in order to deconstruct these concepts and show that they are “manufactured.” His re-creations include Diary of a Victorian Dandy, a suite of large photographs based on Hogarth’s The Rake’s Progress, in which he portrays the Victorian dandy; a
Out of Africa: A Conversation with El Anatsui
A “cloth” made by sewing thousands of recycled, crushed, and flattened liquor bottle tops. A 10-foot-tall installation of redundant newspaper printing plates used for obituary pages and re-used as sculptural material to comment on temporary— and disposable— human lives.
