Beverly Pepper discusses her retrospective in Florence, the evolution of her work, her working process, and her views on contemporary art …see the full review in April’s magazine.
The Sculpture of Winifred Lutz: Perception’s Nature
Correspondence/Congruence (Paradigm), 1995. Wood, fabric, cast stone, and pigment, (central form) 10.5 ft. high x 30 ft. dia. Contemporary Arts Center, Cincinnati. Winifred Lutz’s installations have established her work internationally in the last dozen years. The recent retrospective of her sculpturesat Moore College of Art and Design’s Levy Gallery in Philadelphia, titled “Place of Nature,
Richard Tuttle: No Way You Can Frame It
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.
