Robert Chambers is blazing a sensory trail with installations that talk back, move, smell good, make their own music, and change colors. A postmodern paragon, he self-consciously plays with Rothko-esque glowing biomorphic pools and a Duchampian helicopter with mesmerizing rotors….
Measuring the Clouds: A Conversation with Jan Fabre
Jan Fabre lives and works in his native Antwerp. Contemporary art aficionados know him for his powerful figurative or abstract drawings executed in blue ballpoint and his sculptures fraught with surface ornament. Fabre’s early drawings and sculptures of the 1970s reveal his abiding interest in performance art.
The Uncanny Eye: Lee Bontecou
On the heels of a meteoric rise to acclaim in the 1960s, Lee Bontecou withdrew from the art scene in the early ’70s to quietly pursue what she calls “new directions.” Her long absence from the exhibition circuit led to a virtual exclusion from most art history texts.
Picasso, Sculpture, and Picasso’s Women
Head of a Woman (Fernande), 1909, plaster. I believe that Pablo Picasso, in terms of the history of art, is as important for his sculptures as he is for his paintings. His inventiveness, his radical reappraisal of what sculpture was and could become, and his ability (rather like Henry Moore’s) to seize on the discoveries
Idea-Based Sculpture: Jno Cook, Dennis Kowalski, and Frances Whitehead
Chicago artists Jno Cook, Dennis Kowalski, and Frances Whitehead exploit the relationship between concept and the object that embodies it, examining and commenting on the social systems around them….see the full feature in March’s magazine.
Extended Ephemeral: The South Carolina Botanical Garden’s Living Laboratory of Botanical Sculptures
The South Carolina Botanical Garden is a place where nature and culture meet. Yoga camps, clean-up activities, and school class visits enhance public awareness of nature and culture …see the full feature in March’s magazine.
Forum: Roughing It: A Do-It-Yourself Guide to Sculpture Symposia
Brian Monaghan, Chicagoscape, 2003. Steel, 12 x 20 x 10 ft. Symposia are filled with the energy that artists often need to refresh their creative “batteries.” These experiences force us into unique situations that require the kind of “out of the box” thinking conducive to the creation of new sculpture.
