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.
Martha Jackson-Jarvis: The Process of Discovery
The obsessions that awaken mixed-media artist Martha Jackson-Jarvis each day emanate from her love of family, her passion for cooking, and, she’s the first to admit, from her unabashed fascination with the elastic dimensions of clay.
A Question of Perspective: Sculpture by Charles Ginnever
Charles Ginnever was on vacation in Maine in 1993 when he went to work on a design that had already been in his mind for a while. He started, as he often did, by tinkering with shapes cut from foam core; when he was done, he had produced an object that could stand freely in
Playing with Fire: Armand Vaillancourt
During the summer of 1987, while visiting Quebec City, I first met Armand Vaillancourt as he was working on Drapeau Blanc, a monumental sculpture composed of over 92 tons of calcite brought in from the Saguenay Lac-St.
Forum: Australia’s Sculpture Prizes
Robert Bridgewater, Red Trunk and Black River, 2003. Finalists for the Helen Lempriere National Sculpture Award. After a lapse of nearly 40 years, prizes, for a variety of reasons, have again become popular in Australia.
Materialized Expression: The Sculpture of Liam Gillick
The work of Liam Gillick needs to be entered through the totality of his practice. His artwork is intimately interwoven with his work as a critic, writer, curator, and designer. What he makes for the gallery space manifests, explicates, and proposes a complex of ideas that he is concerned with in all aspects of his
