With The Armory Show and its cousin once-removed, the Whitney Biennial, now in the recent past, what remains standing in the memory? For this viewer, several works about town, most especially Elizabeth Turk’s exhibition at Hirschl & Adler Modern, palliated an acute case of Stendhal syndrome and restored faith in art’s ability to be meaningful
Rath Around the House (The Greats of Rath)
We gave our Doberman to my sister-in-law the other day. Her kids had always loved Orenthal. Besides, “Juice” had gone docile on us over the last decade, his sentry instincts replaced by drooling and excessive gas.
Alan Rath: Meta Mechanics
We’ve all had about enough of machines. Computers break down; ATMs swallow bank cards; cell phones, MP3s and DVD players inconveniently die in the midst of declarations of undying love. Galleries and museums often seem like the last vestiges of unmechanized culture, packed with objects made, as we like to say, by hand—never mind that
Katy Stone: Embodiments
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.
