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,
The Architecture of Light and Space: An Interview with Stephen Antonakos
Neon Barrier, 1968. Neon, 2 x 2 x 30 ft. Stephen Antonakos has been a pioneer in the sculptural use of light since the 1960s. In addition to a number of ground-breaking gallery installations in New York, such as Neon Barrier and Walk-on Neon, he has also created permanent public works in New York, Tacoma,
Texture, Grace, and Drama An interview with Mary Lucier
Mary Lucier began her career as a sculptor, but has concentrated on video installation since 1973. Her works in that medium have been exhibited all over the world. For House on the Water, created for the Spoleto Festival U.S.A.’s
Funny Peculiar: Humor and Sculpture in Modern Art and After Minimalism
The first joke a baby gets is always the same: mild alarm followed quickly by extravagant reassurance. The baby laughs rapturously at the absurdity of being afraid. When we grown-up babies enjoy our more or less sophisticated derivatives of peek-a-boo, what is funny is still the idea that we were about to be frightened or
Dennis Oppenheim: A Mysterious Point of Entry
Carolee Thea interviews Dennis Oppenheim in Venice Dennis Oppenheim has been a pioneering artist in conceptualism, land art, body art, video, and sculpture since the late 1960s. He is most interested in imperfect and chaotic manifestations of dialogue and tension, danger and discomfort.
Barbara Zucker’s Beauty Myths
A lawyer friend told me the story of a medical malpractice case he tried in which a woman with breast implants was suing the hospital which performed the operation because one of the implants had ruptured.
Jorge Pardo: Living Without Boundaries
Jorge Pardo is one of the most influential taste-makers of the late ’90s. He has all the cachet of a Rem Koolhaas, the Gap, or Arne Jacobsen. Moving through exhibition spaces like an interior designer on Prozac, Pardo negotiates pretentious style with pedestrian needs.
