Grace Knowlton’s spheres and boulders become metaphors for the influence of time on both objects and individuals….see the full review in January/February’s magazine.
Richard Serra, Man of Steel
Richard Serra’s tough guy status as the last gasp of machismo in art is fading as the lyrical “Torqued Ellipses”-shown at the Dia Center in New York and, with added forms, at MOCA’s Geffen Contemporary in Los Angeles-turn him into a friendly tourist attraction.
Edward Mayer: The Idea of Impermanence
Linear Accelerator, 1994. Wood, hardware, and mixed media, 13 x 20 x 35 ft. Home is the point of departure for Edward Mayer. With one foot both in and out the door, each step around a Mayer installation site takes you miles from its start.
You Cannot Go Home to Another Place: An Interview with Andries Botha
Home, 1997. Wood, mild steel, aluminum, lead, electrical fittings, and astroturf, 3 x 3 x 4 m. Carol Becker: I think we should start from the recent Johannesburg Biennale, and go backwards. Why did you choose to do what you did at the Biennale?
Martin Puryear: The Call of History
North Cove Pylons at Battery Park City, 1995. Granite and stainless steel, north pylon: 72 x 5.75 ft; south pylon: 56.75 x 7 x 7 ft. Two new sculptural works and two design projects by Martin Puryear demonstrate his talents as a literal mold-maker and a figurative mold-breaker.
Clyde Connell: 1901–1998
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.
