Linear Accelerator, 1994. Wood, hardware, and mixed media, 13 x 20 x 35 ft. Home is the point of departure for Edward Mayer. With one foot both in and out the door, each step around a Mayer installation site takes you miles from its start.
Home, 1997. Wood, mild steel, aluminum, lead, electrical fittings, and astroturf, 3 x 3 x 4 m. Carol Becker: I think we should start from the recent Johannesburg Biennale, and go backwards. Why did you choose to do what you did at the Biennale?
North Cove Pylons at Battery Park City, 1995. Granite and stainless steel, north pylon: 72 x 5.75 ft; south pylon: 56.75 x 7 x 7 ft. Two new sculptural works and two design projects by Martin Puryear demonstrate his talents as a literal mold-maker and a figurative mold-breaker.
Numbered and Filed #2, 1984. Mixed media, 74 x 32 x 22 in. Last April, one month before she died at the age of 96, the state of Louisiana designated its native daughter, sculptor Clyde Connell, a “legend.”
Light Up, 1971. Painted steel, 21 x 16.5 x 28.75 ft. Light Up, 1971. Painted steel, 21 x 16.5 x 28.75 ft. Once in a rare while you come across a public sculpture that so transforms the space its in that it takes your breath away, and you return again and again to see if
Thomas Schutte, Piazza Due, 1986. Mixed media, installation detail. Sculpture, like art in general, has become an amorphous concept, ill-defined and perhaps undefinable–yet another case of art-as-epistemological-problem. Anything that occupies space, and doesn’t hang on a wall, is “sculpture” or “sculptural.”