White Walls, 1998. Corrugated plastic, each unit approximately 10 x 23 in. diameter. The expository tires piled on top of each other in James Carl’s latest show at Galerie Clark look natural but are not. Each has been handcrafted out of coroplast, a synthetic material, and the seemingly accidental nature of their presentation is actually
In Pursuit of Memory: Berlin, Bamberg, and the Specter of History
Berlin is a primary focus of current reconsiderations of cultural memory, political ideology, public commemoration, and sculptural possibilities…see the full review in April’s magazine.
Art & Ecology: Three Canadian Sculptors
Irene F. Wittome, Musée des Traces, 1989. Mixed media, room-size installation. “Do you ever wonder what happens to those little pieces of soap left over when you leave your room?” asks a voice on a Toronto hotel’s closed-circuit television channel.
Ten Years of Site-Specific Art
Ten years of evolution in site-specific art can be neatly bracketed by the “Skulptur Projekte” exhibitions held in Münster in 1987 and 1997….see the full review in March’s magazine.
Bernar Venet
Bernar Venet, (Left) Interminate Area, 1998. Torch-cut steel, 98 x 168.5 x 1.4 in. (Right) Two Interminate Areas, 1998. Torch-cut steel, 98 x 168.5 x 1.4 in Almost 30 feet high and painted bright red, Bernar Venet’s Acute Angle of 19.5
Elizabeth Catlett: The Spirit of Form
Elizabeth Catlett, Singing Head, 1979. Orange Onyx, 13 x 9 x 13 in. Since the mid-1940s, American-born Elizabeth Catlett has worked as a graphic artist, sculptor, and teacher. Together with her husband, painter and graphic artist Francisco Mora, she has also raised a family in Mexico.
Heide Fasnacht: Love Gas & Invisible Objects
Heide Fascnacht, Bomb, 1997. Graphite on paper, 22 x 30 in. During the past 20 years, the notion of “imagination” has been given short shrift. With very few notable exceptions, a fast scan through the art magazines of the past two decades leaves the impression of rigid categories of work produced by legions of practitioners
