ln the 1980s Jon lsherwood made multi-part sculptures in steel and cast concrete. Modernist in spirit, these early assemblages of rusted steel and swathes and swirls of cast concrete carry on an interesting dialogue with the works of Caro and Smith…see the full feature in September’s magazine.
Site “Shore/lines”: Responding to Place in Barrie, Ontario, Canada
About an hour’s drive north of Toronto, Ontario, the city of Barrie (pop. 103,000) is a place that seems to exist for the benefit of any reason other than itself. To some people, it’s little more than a bedroom community for Toronto-bound commuters.
Forum: Sculptors Groups
While chatting over dinner almost 10 years ago, fellow sculptor Knox Cummin and I discussed the possibility of starting a sculptors group in Philadelphia. I had become aware of the growing number of such groups around the country and thought that the time had come for Philadelphia sculptors to make a more visible appearance on
Uncontrollable Curiosity: A Conversation with Gino Marotta
Gino Marotta is a lively and ironic artist who has practiced in lucid autonomy that which in the United States was once known as Pop, creating environments out of refined images conceived according to the rules of perfect design….
Digital Sculpture: Ars Ex Machina
In the mid-19th century, Oliver Wendell Holmes hailed the photographic, dual-image “stereograph,” a term he coined, as mankind’s greatest achievement because its three-dimensional illusion allowed “form henceforth divorced from matter.”1 Since that time, form has repeatedly asserted its independence from matter in myriad photographic and cinematic inventions.
The Manifestation of Awareness: Buddhism and Contemporary Sculpture
Continuing into 2005, art institutions on the East and West Coasts and in between are offering exhibitions, performances, readings, and panel discussions that explore the relationship between Buddhism and art in the United States….see the full feature in September’s magazine.
Manfred Muller: The Labyrinth of Memory
Manfred Muller, Palacio de Memoria LCI [Lower Color Intention], 2003. Red primed paper with oil pastel and linseed oil on mat board, 37.5 x 16 in. From Matteo Ricci’s 15th-century tale Palace of Memory to Italo Calvino’s 20th-century Invisible Cities and Hans Magnus Enzensberger’s recent Civil Wars, European writers have continuously explored memory as an artistic
