Three contemporary Midwestern sculptors address the mutable rural landscape…see the full review in July/August’s magazine.
Terms of Engagement: Radical Communalism in Bay Area Art
Diverse artists demonstrate concern with environmental issues….see the full review in July/August’s magazine.
Dynamic Geometries: Joel Perlman
Perlman’s works make steel appear penetrable, flexible, and ethereal…see the full review in July/August’s magazine.
Questioning Authority: A Conversation with Eve Andrée Laramée
More philosophy than standard art discourse, Eve Andrée Laramée’s polemical sculpture installations uproot assumptions about the authority of history, science, nature, and art. Never strictly didactic, her work does not simply illustrate information culled from her exhaustive research.
Stephen Talasnik: Harnessing the Majestic
What is the relationship of drawing to sculpture? Two-dimensional art, despite the achievements of Abstract Expressionism and the all-over image, remains a project of perspective, given as the category is to the illusion of depth. It is true that Cubism began the attack on drawing’s capacity for the visual feint by clearly delineating shifting planes
Forum: Changing Models for Public Art
Seattle’s “Salmon in the City” On March 24, 1999 Seattle received the shocking news that the Chinook salmon was officially listed as an endangered species. Two years later, Seattle received more bad news: drought and power crises further threatened salmon habitat.
Staging the Istanbul Biennial
International biennials like Istanbul have become a major forum for cultural dialogue…see the full review in June’s magazine.
Making Oxymorons Happen: A Conversation with Liz Larner
Liz Larner’s mid-career survey, presented at the Museum of Contemporary Art in Los Angeles from December 2, 2001 through March 10, 2002, covered the last 15 years of the Los Angeles-based artist’s work. Larner graduated from the California Institute of Arts in 1985 and rose to international prominence during the 1990s.
Sol LeWitt: Systemic Art Made Visual
These works demonstrate that the mind and the body do not have to be separated…see the full review in June’s magazine.
Controlled Passion: A Conversation with Petah Coyne
“This looks like art,” a tough-talking policeman pronounced, looking around at the fairyland of wax-bathed figures, birds, chandeliers, scarlet and blue feathers, worldly and otherworldly forms. Petah Coyne’s “White Rain” exhibition had a visceral immediacy not easily communicated in photographs.
