How best to square Joel Shapiro’s long-term sculpture project? He has been on a lifelong quest to determine how geometric form can convey complexities of introspection, “an emotional state,” as he described it recently in his Long Island City studio.1
Slipstream, one of Richard Wilson’s most innovative projects to date, translates the motion of a car rolling over into the aeronautical maneuver of a small propeller plane turning through the air at high altitude. The suspended, aluminum-clad sculpture twists through the central space of Heathrow Airport’s new Terminal 2 building like an elongated spacecraft settling
Viewers familiar with the British artists Ivan and Heather Morison expect their work to elicit a sense of unease. Anna, a piece of object theater installed in their 2012 Hepworth Wakefield exhibition, showcased their diversity of media and approaches.
Clever, capable, and spirited, Sahej Rahal belongs to a new generation of Indian artists who have seen the success of their immediate predecessors and wish for more of the same. Rahal is as articulate as he is well-informed, with kaleidoscopic knowledge and the ability to adapt ideas from recent history with intellectual ease; his works
For a moment, let’s look at the work of Jeff Koons in its artistic and cultural context, separating it from issues having to do with production, financing, promotion, and reception—for the latter have received ample attention in the wake of the artist’s retrospective at the Whitney Museum of American Art.
It looks like an ordinary tricycle that any three-year-old might ride. But it’s made entirely of wood (wenge and sycamore), and if you give it more than a passing glance, you notice a wooden gun mounted under the seat, pointing in a forward direction.
Hidetoshi Nagasawa was born in 1940 in Tonei, Manchuria, where his Japanese parents were located because his father was an army doctor. During the war, when Soviet forces attacked Manchuria, the Nagasawas fled back to Japan and settled near Tokyo.
British sculptor Rachel Kneebone uses porcelain to create deeply psychological and sensual tableaux of contorted bodies and limbs. I first came across her work at the Brooklyn Museum, where it was paired with the sculpture of Auguste Rodin in the exhibition “Regarding Rodin” (2012).
How do you solve a problem like Gillian Jagger’s label-defying work? It does not fit into any familiar art-market niche and confounds many of the art establishment’s trend-conscious poobahs. It is not postmodern-ironic, nor does she send her designs out to nameless fabricators to be manufactured—bigger, shinier, more expensive—and then sold to trophy-seeking Russian oligarchs
Zilia Sánchez defies categorical definition. Her high-relief, shaped canvases hover between painting and sculpture. A breakout art world success at the age of 87, she is a Cuban national, who has lived off the island since the revolution, and she creates apolitical work.