Ever since Jessica Stockholder nailed a red mattress to the weathered exterior of her father’s garage (without his permission) and titled it Installation in my Father’s Backyard (1983), her deliberately ramshackle work has been praised by critics for demolishing the boundaries between painting, architecture, and sculpture …see the full feature in May’s magazine.
Abbotsford, Victoria, Australia Within Without: Elisabeth Weissensteiner Chapman & Bailey Gallery
“Appearances are a glimpse of the obscure.” * Spiked Egg , 2003. Transparent paper, packing tape, and pins. 25 cm. long. Elisabeth Weissensteiner’s sculpture describes the body’s seemingly parallel universes of inside and outside. The very act of viewing her sculpted skins is a process that describes the forms’ oscillation between fragile beauty and something more
Careers: Artists as Directors and Curators of Art Spaces, College Galleries, and Museums
Most artists don’t know what kind of career they will have, or if they will even have a career, but sculptor Jock Reynolds knew he was making a career-changing decision in 1983 when he took over the directorship of the Washington Project for the Arts (WPA), a nonprofit multi-disciplinary art space in the District of
Kuma: Sculpture as Transcultural Theater
In my travels to Japan and other Asian countries over the years, it has become increasingly apparent that while cultural difference may be a reality, it is not necessarily a limitation….see the full feature in March’s magazine.
Salvatore Scarpitta: Dirt-Track Sculpture
Salvatore Scarpitta is an American artist of far-reaching imporrance to modern American art and culture….see the full feature in March’s magazine.
J. Morgan Puett: Smuggling and Grafting
One room at MassMoCA seems to have been forgotten during the two rounds of refitting and renovation responsible for the building we see today….see the full feature in March’s magazine.
Robert Morrison: Anxious Austerity
The first time I realized that Robert Morrison had something new to say was when, perversely, he said nothing at all. …see the full feature in March’s magazine.
Judith Shea: Seven Characters on the Verge of a Revelation
Judith Shea, a notable presence on the New York sculpture scene since the 1970s, seemed to have unaccountably withdrawn from it some 10 years ago.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
Bristol-Myers Squibb Sculpture Project
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,
“Presence of Light”
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.
