Elizabeth Strong-Cuevas sees heads as metaphors for the spaces they inhabit and the abstract ideas they generate. Using the joined last names of her mother, Margaret Strong, and her father, George Cuevas, she studied at the Art Students’ League in the 1960s with John Hovannes, who taught her to carve wood and stone.
Ted Larsen’s sculptures are intimate and self-contained. His simple geometric forms resemble found objects, suggesting a past, reminiscent of something previously encountered. Though understated, the objects demand consideration: proximity encourages examination, which then reveals the nuanced complexity.
Elixir Bar, 2005. Traditional wooden house, screenprinted glass panel, blown-glass vials, plant extracts steeped in shochu, and laboratory glass, permanent installation at the Echigo-Tsumari Art Triennial, Japan. Janet Laurence’s work takes viewers on an amazing journey through subjects as diverse as ecology, feminism, and alchemy, to name a few.
Much has been written about Laib’s artistic constants—his hermetic practice, distilled forms, and organic materials. A convergence of three projects in 2013 hinted at evolutionary changes in his work: “Over the last few years, I’ve made fewer exhibitions and don’t want to repeat things.
Jukhee Kwon uses abandoned and discarded books to make extraordinary sculptures that frequently resemble cascading waterfalls. For her, each destroyed book—its pages meticulously cut into ribbons—takes on new life through the process of creation and re-creation.
Giuseppe Penone takes an almost animistic approach to sculpture, instilling material, process, and object with a ritual significance that moves beyond the conventions of culture to capture something innate, though forgotten, in human nature. His definition of art is deceptively, disarmingly simple: the task of the artist is to explore the reality of the world
Richard Deacon is one of the most prolific British artists practicing today, with a career spanning nearly four decades. Using a wide variety of media and processes, he has developed a diverse and constantly surprising body of work—from small-scale pieces to monumental public sculptures.
“Critics frequently refer to my work as ‘spiritual.’ Yet I’m less interested in spirituality than in the unexplainable, which you feel more than see. To be clear, I’m not trying to be mystical, nor am I consciously avoiding it. And though I am very concrete and use very concrete materials, I do not intend my work to be ‘explainable.’ Feeling is more important for me than anything formulaic.”