Sook Jin Jo’s unusual and moving aesthetic depends on materials collected from the street and put to use in sculptures, installations, and public art projects focused on social responsibility and collaboration.
Pooja Iranna coaxes industrial materials and office accessories, including cement, mirrors, and staples, into thought-provoking portrayals of how the world and its proliferating cities are evolving. Her recent exhibition “Silently—a proposed plan for rethinking the urban fabric” ended with a chilling film that enacted the rapid colonization of the earth’s remaining green space.
A quintessential social sculptor, Allan Wexler uses architecture as a transformative tool, triggering the alternating joys and anxieties we experience whenever we step into a new space and teasing us with simple but provocative questions: Do I want to deal with social etiquette?
One of my mother’s favorite memories from her childhood in Puerto Rico was finding and attending funerals. She and my Titi Maritza would run around searching for fatalities, checking in on old people, scouring the news.
Mark Cooper’s sculptures seem particularly suited to the uncertain nature of our times. Like the poet Rainer Maria Rilke, Cooper “liv[es] the question” through his work, both personal and collaborative, creating visual forms that bear traces of a rich, compelling, infinitely productive, and changeable process.
Daniel Giordano works on the third floor of his family’s former coat factory in Newburgh, New York (across the Hudson River from Beacon), where he makes outlandishly beautiful sculpture from the most unlikely of materials. Very much aware of Modernism but not beholden to it, Giordano represents a new kind of creative thinking.
El escultor cordobés Manuel De Francesco, docente en la Universidad Nacional de Artes (UNA) en la ciudad de Buenos Aires donde vive desde hace años, desarrolla un tipo de obra que atrapa la mirada del espectador apelando indefectiblemente a la ternura y la empatía emocional.
“the lives we live” Grangegorman Public Art aims to engage artists and communities with “ambition, innovation, and relevance.” Here, in Part Two, three commissioned artists—Trish McAdam, Justine McDonnell, and Clodagh McEmoe—reflect on their projects.
Over the course of the 18th and 19th centuries, Grangegorman, which had been an agricultural hamlet of Dublin, was radically transformed into a working class urban center dominated by penal and welfare institutions, including workhouses for adults and children, a foundling hospital, a surgical hospital, a penitentiary, and a mental hospital serving much of the region.
Shinique Smith has often related how reading a 2002 article in The New York Times Magazine prompted a new sculptural language in her work. “How Susie Bayer’s T-Shirt Ended Up on Yusuf Mama’s Back” traces the journey of a used T-shirt from the Upper East Side of Manhattan to Jinja, Uganda—part of a global trek of donated clothing from rich to poor countries.