Patricia C. Phillips takes a close look at today’s public art and asks the hard questions. Mel Chin/The GALA Committee, “Bar Graph” (from a set for Melrose Place), 1997. Museum of Contemporary Art, Los Angeles/Lyle Ashton Harris.
Poetry Out of Chaos: A Conversation with Judy Pfaff
Judy Pfaff’s installations confront sculptural and architectural concepts-mass, scale, inner and outer space, multiple perspectives-yet they also contain raw emotional and sensory chords that may surprise and confuse viewers. Born in London, Pfaff earned a BFA from Washington University in St.
Stone Mystery or Malaise?
Louise Bourgeois, Nature Study, 1986. Marble, 33 x 28 x 21.5 in. Janet Fleisher Gallery, Philadelphia. Stone is both a burden and a source of inspiration for sculptors because it carries with it associations of permanence, purity, monumentality, beauty, and decoration.
Negotiating Boundaries: inSITE97
Five artists discuss their explorations of the U.S.-Mexico border through sculptures and installations responding to universal, political, and conceptual issues …see the full review in February’s magazine.
Public Art in Brazil
The cities of Rio de Janeiro, Brasilia, Recife, Olinda, and São Paulo offer a range of public sculpture characterized by local and international influences …see the full review in February’s magazine.
New York Story: In Public Art, Artists and Audiences Transcend Geography
Maria Elena Gonzalez, The Persistence of Sorrow (detail), 1996. Wood, rubber, Braille, vaseline, and tile, 14 x 18 x 22 ft. Some say that New York is not the center of the world. I disagree. As I type these words into my computer this early morning, alone in my study on the Lower East Side,
