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
The Art of Elisa Arimany
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.
Catherine Widgery: Lost Sense
Catherine Widgery’s sculpture eloquently addresses the devastation of the environment and the dichotomy of nature and culture …see the full review in July/August’s magazine.
Nancy Grossman: Opus Volcanus
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,
The Legacy of Alexander Calder
Alexander Calder in his Roxbury studio, 1941. July 22, 1998, will mark the centenary of Alexander Calder’s birth, and it is time to assess Calder’s legacy to sculpture. A current retrospective at the National Gallery of Art in Washington, D.C.,
At the White House: The First Lady’s Sculpture Garden
Robert Therrien, No Title, 1985. Bronze, 90 x 32 in. First Lady Hillary Rodham Clinton, an avid fan of contemporary art, has quietly introduced 20th-century American sculpture to approximately six million visitors to the White House over the past four years.
