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”.
Sculptor’s Place: The Studio of Grace Knowlton
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.
