Numbered and Filed #2, 1984. Mixed media, 74 x 32 x 22 in. Last April, one month before she died at the age of 96, the state of Louisiana designated its native daughter, sculptor Clyde Connell, a “legend.”
Calculated Risks: Showing the Big Stuff
Sculpture presents problems for a marketplace better suited to paintings and small-scale works, but some dealers surmount the difficulties with passion and vision…see the full review in December’s magazine.
Re-Approaching Tony Smith
Light Up, 1971. Painted steel, 21 x 16.5 x 28.75 ft. Light Up, 1971. Painted steel, 21 x 16.5 x 28.75 ft. Once in a rare while you come across a public sculpture that so transforms the space its in that it takes your breath away, and you return again and again to see if
Experience, Complicity & Quality
Aesthetic experience is used to serve so many competing economic and political interests that we must be as clear as possible about why we value art…see the full review in November’s magazine.
Surprise Packages
Both art and tourism are the offspring of modern industrialism and a separation of both work and leisure from the rest of life…see the full review in November’s magazine.
The Body Vulnerable & Invulnerable: Contemporary German Sculpture
Thomas Schutte, Piazza Due, 1986. Mixed media, installation detail. Sculpture, like art in general, has become an amorphous concept, ill-defined and perhaps undefinable–yet another case of art-as-epistemological-problem. Anything that occupies space, and doesn’t hang on a wall, is “sculpture” or “sculptural.”
Arthur Ganson and His Elegant Mischief Machines
Faster, 1982. Mixed media. If motorized sculpture could be cast in dramatic roles, Rebecca Horn’s sporadically silent and staccato objects would fit nicely in existential melodramas à la Samuel Beckett; Bruce Nauman’s heavy irony and foreboding forms seem to embody Antonin Artaud’s Theater of Cruelty; and Jean Tinguely’s lightly satirical fusions of parody and absurdity
Changing Alternative Spaces—Looking to the Next Century
Alternative arts spaces have made dramatic changes in the ‘90s, adapting in various ways to the new climate in the arts and society.
