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.
Site: Maria Dompé: Incursions in Space
Don’t Forget Mururoa, 1997. Slate, sand, rope, lemon extract, and sound, 300 x 300 x 1300 cm. Maria Dompé studied at the Roman Academy of Art under the supervision of renowned sculptors Pericle Fazzini and Emilio Greco.
Focus: Robert Stackhouse: The Ritual of Labor
Robert Stackhouse was trained as a painter during the heyday of Abstract Expressionism. Although his time as an Abstract Expressionist painter lasted only a few years, he has retained that movement’s faith in the emotive and communicative power of the image.
Ingenious Simplicity: The Sculpture of H.C. Westermann
The inventiveness, wit, craft, and thoughtfulness of Westermann’s work continue to influence contemporary art …see the full review in May/June’s magazine.
Icons and Interventions in Chicago and the Potential of Public Art
A temporary installation by Suzanne Lacy, Full Circle (from “Culture in Action”), 1993. Boulders and bronze. John McWilliams Chicago’s public art demonstrates the diversity and the difficulties inherent in public art in the 1990s. The tourist version of Chicago has at its core the towering steel untitled female head by Pablo Picasso, a huge abstracted
Off the Pedestal: Chicago and Public Sculpture, 1965 to 1975
The first generation of contemporary public sculpture in the United States had its origins in artist-organized outdoor sculpture exhibitions …see the full review in May/June’s magazine.
