The Wicked Proposition of the West (Proposition 187), 1995. Glitter, shoes, boots, and embroidered labels, 14 ft. dia. British artist Conrad Atkinson uses art as a vehicle to comment on political and social injustices. The issues he engages in can be stimulated by a place, an event, or merely a conversation.
Atrium 1, 1986. Becton Dickeson Corporation, Franklin Lakes, New Jersey. Michael Singerís sculptural works from the 1970s and 1980s opened up new dialogues on approaches to site specificity and the development of public spaces. His more recent works have been recognized for their original solutions to the integration of aesthetic and social preoccupations in the
La Força díuna idea (The Strength of an Idea), 1992. Iron, 16.5 x 13 x 13 ft. Several years ago, New York Times art critic Michael Kimmelman called attention to an exhibition of outdoor sculpture then on display at Socrates Sculpture Park in Long Island City, Queens.
Opus Volcanus, 1994. Leather, wood, metal, rubber, acrylic, 50 x 80.125 in. Photo: Larry Lamay. The challenge in coming to terms with the art of Nancy Grossman is an internal one. To see one of her ferocious life-size heads, bound in black leather, zippered-up, with protruding features and gnarled teeth, all exquisitely carved and crafted,