Novecento, 2000–02. Bronze, 21 x 7 meters diameter. Photo: © Alberto Piovano, Milan. Laura Tansini: How did it happen that the City of Rome commissioned Novecento? Arnaldo Pomodoro: It was in 1998, when Francesco Rutelli was mayor of Rome, at the re-installation of my work Sfera Grande in front of the Ministry of Foreign Affairs after its
Photographs of Public Artworks by Anish Kapoor and Christo & Jeanne-Claude: Copyright Infringement?
Over the past 30-plus years of the public art movement, artworks in public settings have added beauty, interest and, in some instances, controversy to the civic arena. For photographers and plein air painters, however, they may also be adding the threat of a lawsuit for copyright infringement.
Nek Chand Saini: Sculpting From Scrap
I stood surrounded by hundreds of strange beings, fantastical creatures arrayed around me in every direction. …see the full feature in April’s magazine.
The Weight of Memory: Zero Higashida
Sculpture has likely served a memorial purpose since its beginnings. It fulfills the melancholic ritual of acknowledging the dead, whose claim on us is as much physical as metaphysical. …see the full feature in April’s magazine.
“Public Art is Dangerous”: Dennis Oppenheim
Over the course of a much-honored, 40-year career, Dennis Oppenherm has created sculpture, conceptual art, Land art, and public art, with a long string of public art successes installed throughout the United States and Europe. …see the full feature in April’s magazine.
Tom Otterness: Public Art and the Civic Ideal in the Postmodern Age
One Sunday in late November near dusk, a family walks down Broadway toward Lincoln Center on Manhattan’s Upper West Side. As they approach 65th Street, the mother, a casually but stylishly dressed woman, says, “There’s a sculpture over here I don’t quite understand, but I think it’s hysterically funny.”
Jessica Stockholder: Redefining the Frame
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.
