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.
Community Re-investment: A Project for Artists?
Which aspects of the artist space movement can contribute to a reinvention of alternative spaces rather than a nostalgic replication of these vital institutions? …see the full review in October’s magazine.
Robert Irwin: De-objectifications for Philosophic and Actual Bodies
Part I: Prologue: X 183, 1998. View of mixed-media installation Robert Irwin’s new work, “Prologue: X 183”, is the first of a two-part installation on the third floor of the Dia Center for the Arts in New York City.
The Height and Depth of Gloria Kisch
Two Columns, 1998. Aluminum, left column 82 x 10 x 10 in.; right column 81 x 12 x 12 in. Gloria Kischís cavernous studio occupies the basement of an office building near Saint Marks Place in lower Manhattan.
Claudia Fitch: Just Beautiful
Claudia Fitch wants her work to “be as beautiful as Lucille Ball.” This desire both reveals and conceals the complex character of her artistic strategy; this beauty is the beauty of Formica finishes, Maybelline-lacquered fingernails, and the loveliness of the home-perm.
