For the American sculptor Donald Judd, simplicity focused attention on the object in space: “It isn’t necessary for a work to have a lot of things to look at, to compare, to analyze one by one, to contemplate.
Tom Bevan: Weapons of Indirect Attack
Irish sculptor Tom Bevan came to New York in 1993 for a year-long PS1 residency. A noted sociopolitical artist who had engaged with the Troubles in Northern Ireland, he was a major presence in exhibitions, catalogues, books, and articles, including my own Directions Out in Dublin (1987), Art Politics and Ireland (Open Air, Dublin 1989),
Traveling the Road to Freedom: A Conversation with Dominique Moody
Last summer, assemblage artist Dominique Moody brought NOMAD, a “tiny house” on wheels that serves as her living and creative space, to Harrison House Music, Arts & Ecology, located in Joshua Tree, California. The 140-square-foot mobile shotgun house, whose title stands for “Narrative, Odyssey, Manifesting, Artistic, Dreams,” is a gem of a compact, self-sufficient dwelling
Action and Magic: A Conversation with Navjot Altaf
Over the course of a long career, Navjot Altaf has experimented with a host of media and materials. Her work, which has evolved to embrace new dimensions, reflects a personal journey, celebrating relationships and mourning losses while making strong statements about socioeconomic trends, especially in India.
Martha Dimitropoulou: Pine Needle Pixels
Despite the Greek economic crisis, art is thriving in Athens thanks to a growing number of nonprofit and alternative exhibition venues. One such space, the Contemporary Greek Art Institute (iset), a nonprofit archive and gallery, recently featured the work of an unusual sculptor in the exhibition “Devalue/Value/Surplus Value: between ‘work’ and ‘art,’” curated by Charis
Unknown Extremes: A Conversation with Tania Kovats
Tania Kovats’s work encompasses sculpture, installation, and large-scale, time-based projects that investigate the layered aspects of landscape—that which lies beneath and beyond what is perceived with the naked eye. These unknown spaces— shifting tides, weathered rock faces, wood grain, and even the uncharted territories of outer space—are mysteries to be unraveled.
Gravity’s Pull: A Conversation with Mathilde Roussel
Sculpture is traditionally about the body. Mathilde Roussel alludes to the body indirectly, by way of sheets of paper or rubber hanging from the wall, which she refers to as skins, and amorphous columns built up of masses inspired by her study of overdeveloped musculature.
David Sherry: Wrong Art
Ever since Duchamp produced his readymades, the definition of sculpture has loosened and mutated, like an object plunged into an acid bath and slowly eroding. In England, Gilbert and George presented performances of themselves as living sculpture, while in the United States, strange cross – overs between installation and happening- between non-text-based theatrical troupes like
Coleen Sterritt: A Rotation of Facts
Coleen Sterritt’s odd and idiosyncratic work prods at the spaces between manufacture and nature, anonymity and authorship, art and craft. Offering an extended meditation on artifice, her objects teeter between variants of reality and their opposites.
Extracting Art From Almost Nothing: A Conversation with Jose Dàvila
Born in 1974, Jose Dàvila was raised in Guadalajara, Mexico. While interested in art, he chose not to attend the classically focused fine art university, enrolling instead in the architecture department at the Universidad Jesuita de Guadalajara.
