Art is primarily a visual medium, yet most artists take the experience of sight for granted. Devorah Sperber does not. The New York-based artist probes the optical, social, and historical reasons for why we see what we see.
A Leap into the Unknown: A Conversation with Sol LeWitt
When approached to do an interview with Sol LeWitt, I immediately recalled a moment in the late ’70s during my graduate research on conceptual art when I felt compelled to have a conversation with the artist.
Action and Reaction: A Conversation with Nunzio
For more than 20 years, an inexhaustible curiosity has driven Nunzio to provoke accidents in the process of making that force him to look for different, unexplored ways of proceeding and to find new solutions. His 2005 exhibition at New Galleria Persano in Turin surprised everyone.
Sunil Gawde: Minimal Approach, Maximum Impact
“Blind Bulb etc.”: the title of the show is intriguing, perplexing. Perhaps, just as the artist intended. It makes one contemplate the strange juxtaposition of words, wondering what it denotes. Perhaps, just as the artist wished.
Eva Kwong: Love Between the Atoms
At first impression, “Love Between the Atoms,” the retrospective of Eva Kwong’s ceramics at the Schein-Joseph International Museum of Ceramic Art at Alfred University, is far from the atomic. Other qualities strike me—playfulness, organic formalism, and color.
Transmogrifications: A Conversation with Bryan Crockett
Bryan Crockett was born in Santa Barbara, California, in 1970 and grew up in a home attached to the family business; his father was the local mortician. He dropped out of high school in his junior year to attend Santa Barbara City College and graduated with a BA from Cooper Union in New York City
Kan Yasuda: Between Mind and Matter
Just as a great singer can use his voice at full volume or at the most disembodied of pianissimi, so Kan Yasuda can convey the full range of sculptural emotions as convincingly by the exploitation of powerfully expansive sculptural mass as by tender, almost imperceptible formal modulations.
Jorge Oteiza: Nothing is Everything
The Guggenheim Museum of Art recently held the first comprehensive retrospective in New York of Jorge Oteiza (1908–2003), a formidable figure in the history of 20th-century Basque art. His work (represented in the exhibition by 125 sculptures, drawings, and collages) is particularly interesting for its range of influences, which include Neolithic cultures and the avant-garde
Transforming Energy: A Conversation with Jaume Plensa
A young man once approached Jean Cocteau and asked the master what he should do to become a successful artist. Cocteau responded with three words: “Faites-moi étonner!” (“Amaze me!”) Looking at Jaume Plensa’s works, one gets the impression that he had been that young artist and had taken Cocteau’s recommendation to heart.
