Alternative arts spaces have made dramatic changes in the ‘90s, adapting in various ways to the new climate in the arts and society.
Which aspects of the artist space movement can contribute to a reinvention of alternative spaces rather than a nostalgic replication of these vital institutions? …see the full review in October’s magazine.
Part I: Prologue: X 183, 1998. View of mixed-media installation Robert Irwin’s new work, “Prologue: X 183”, is the first of a two-part installation on the third floor of the Dia Center for the Arts in New York City.
Two Columns, 1998. Aluminum, left column 82 x 10 x 10 in.; right column 81 x 12 x 12 in. Gloria Kischís cavernous studio occupies the basement of an office building near Saint Marks Place in lower Manhattan.
Claudia Fitch wants her work to “be as beautiful as Lucille Ball.” This desire both reveals and conceals the complex character of her artistic strategy; this beauty is the beauty of Formica finishes, Maybelline-lacquered fingernails, and the loveliness of the home-perm.
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