Short Term Memory 2009 single channel video installation, looping, silent in the group show Frontier Preachers at the Soap Factory, Minneapolis MN. Curator: Jayme McLellan Visitors to a satellite exhibition that accompanied the Prospect.2 New Orleans International Biennial in 2011 were startled to discover a clawfoot bathtub filled with oversize night-blooming cereus flowers in the
Emily Speed works between performance and sculpture, exploring the body, architecture, and their interrelationship—with surprising results. Since graduating with an MA from London’s Wimbledon College of Art in 2006, she’s been quite active, working on various projects and exhibiting in a number of international group shows.
Roxy Paine has won considerable attention from the art world for various bodies of work, including stainless steel tree forms (dendroids); arrangements of psychedelic and poisonous mushrooms, as well as artificially made, weedchoked gardens (replicants); and machines that make drawings, paintings, and sculptures.
While in law school at the University of Wisconsin-Madison, I decided to pursue an MFA in sculpture at the same time. I needed an advocate in the art department who would supervise my ad hoc joint degree, and thankfully, I found Aris Georgiades, who eventually became the chair of my graduate committee.
Lin Yan comes from an illustrious Chinese art family. Her grandfather, Pang Xunqin, studied painting in Paris from 1925 through 1930 and developed something of a Western outlook; when he returned to Shanghai in 1931, he established the Storm Society, the first influential modern avant-garde group in China.
A sculptor of note since the early 1970s, Mia Westerlund Roosen showed at the Sable-Castelli Gallery in Toronto, Willard Gallery in New York, then Leo Castelli from 1976–88, one of a handful of women represented by the legendary dealer.
Pigeon deterrents, glue, nylon, marijuana, film, spray paint, wood. Such are the materials listed for Gereon Krebber’s Let’s talk about it later (2010). Without a doubt, Krebber loves materials that we would not expect in an art context.
For the past 15 years, John Umphlett has developed a body of work in which his own body, placed under extreme duress, is a central feature. Whether dangling over cars, somersaulting through the air, or being slowly dragged through a gallery, Umphlett relentlessly explores the limits of bodily endurance through his provocative performance pieces.
Simon Starling’s complex interdisciplinary practice draws from a vast network of successively interconnected parts. Between craftsmanship, industry, process, site, technology, and art history, it’s immediately possible to get hooked on surface or superficial value alone—Starling’s work is easy to digest, humorous, quick-witted, and materially lush.
Imagine a proposed and completed public artwork recording the locations of 94 fire and flood disasters in Queensland, Australia; then imagine the unveiling of the work, as the artist reveals that the list doesn’t document natural disasters at all, but a series of 19th-century atrocities against indigenous peoples.