Smith’s formal inventiveness is not limited to a single style, medium, or approach….see the full review in November’s magazine.
Alain Kirili: Sculpture as Living Dialogue
Kirili’s work forges a dialogue with Julio González, David Smith, and other sculptors…see the full review in November’s magazine.
Sarah Sze’s Organized Chaos
Sarah Sze rises on a two-story power lift to the very center of the entryway atrium, where a flexible rod arcs out from a pillar at the top of the escalator. She begins to work on the end of that rod, which has diminished to a flexible wire.
New Sculptural Realism: Rethinking Objectivity
There is a hunger for the “real” among contemporary sculptors and audiences…see the full review in November’s magazine.
Biennial Delirium: A Critic in Venice Amid Dreams and Conflicts
The Biennale di Venezia raises questions about the role of art in a media-driven society…see the full review in October’s magazine.
No Time for Second: A Conversation with Patricia A. Renick
Patricia A. Renick, the International Sculpture Center’s 2003 Outstanding Sculpture Educator Award recipient, was born in Lakeland, Florida, in 1932 and taught at the University of Cincinnati, College of Design, Architecture and Art for 31 years.
Opening the Door: A Conversation with Georgia and David K. Welles
The recipients of the ISC 2003 Patron Recognition Award on art and collecting….see the full review in October’s magazine.
Forum: Boston Sculptors
Sculptors in Boston have a precarious existence. For a long time collectors had no idea what to do with three-dimensional objects, and galleries were indifferent to them. Public projects, notably the Red Line subway extension through Cambridge, spawned some public works, although most of them were executed by out-of-towners.
