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.
Museums at the Millennium
Corporate sponsorship of museum exhibitions is creating a romanticized, sanitized, and aestheticized urban landscape …see the full review in September’s magazine.
From the Political to the Popular: An Interview with Conrad Atkinson
The Wicked Proposition of the West (Proposition 187), 1995. Glitter, shoes, boots, and embroidered labels, 14 ft. dia. British artist Conrad Atkinson uses art as a vehicle to comment on political and social injustices. The issues he engages in can be stimulated by a place, an event, or merely a conversation.
Transforming Public Space An interview with Michael Singer
Atrium 1, 1986. Becton Dickeson Corporation, Franklin Lakes, New Jersey. Michael Singerís sculptural works from the 1970s and 1980s opened up new dialogues on approaches to site specificity and the development of public spaces. His more recent works have been recognized for their original solutions to the integration of aesthetic and social preoccupations in the
The Art of Elisa Arimany
La Força díuna idea (The Strength of an Idea), 1992. Iron, 16.5 x 13 x 13 ft. Several years ago, New York Times art critic Michael Kimmelman called attention to an exhibition of outdoor sculpture then on display at Socrates Sculpture Park in Long Island City, Queens.
