replace the abstract picture plane II, 1997. Cast and welded aluminum, marble, 168 in. high. Guido Baselgia / Collection Kunsthaus Zug All of Richard Tuttle’s work originates in the form of theoretical questions. Is it possible to have an object that is an abstraction yet that can also stand in for some concrete object or
A Geography of Home: Alan Finkel’s Public Art
Wind Mirage (at Soryo-cho dam house), 1996. Mixed media. In the end I have come to recognize only one supreme art, the art of becoming human: The art of expressing and intensifying one’s own conscious humanity by appropriate acts, fantasies, thoughts, and works.
Points of Departure: Public Art’s Intentions, Indignities, and Interventions
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.
