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 (1986) stands in sharp contrast to the predictably right-angled facade of a nearby office
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
Systems Aesthetics + Cyborg Art: The Legacy of Jack Burnham
In a flurry of activity in the late ’60s, Jack Burnham wrote three substantial art-theoretical works: “Beyond Modern Sculpture: The Effects of Science and Technology on the Sculpture of this Century”, “The Structure of Art”, and “Great Western Saltworks: Essays on the Meaning of Post Formalist Art”.
