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.
Elements of Measure, Classically Inclined: Alun Leach-Jones
Though Australian artist Alun Leach-Jones is known primarily for his paintings, he began to make sculptures more than 20 years ago in 1992. Working in his studio—a converted factory building in North Sydney, near Sydney Harbor—he made three-dimensional works that, at the time, he did not consider showing.
Big, Bold, and Riotously Colorful: Louise Paramor
Though Louise Paramor’s work inspires an initial reaction of pure visual delight, viewers are advised to look twice and think twice, for things are seldom as they appear. Paramor plays with contradictions and ambiguities, forcing us to ponder, reconsider, and question.
Exploding Restraints: A Conversation with E.V. Day
After several years of working for private art dealers and artists in their studios, and generally pounding the pavement as young artists do, E.V. Day was content exhibiting in nonprofit venues when the thunderbolt struck. A curator who had shown her work while she was still in grad school at Yale called out of the
Recovering Lost Forms: A Conversation with Penny Harris
Speaking with Australian sculptor Penny Harris about her current body of work opens an exciting conversation about archaeology, trans-oceanic travel, and interwoven stories. Harris is looking for new challenges, and so, she has been accumulating facts, ideas, and techniques.
Nothing Lasts Forever (Not Even Art): Ian McMahon
From mobile tractor-trailers to former churches, Ian McMahon’s site-specific work transforms alternative spaces. His sculptures are as much about the appreciation of form as they are about erasure. In other words, enjoy them while they last.
Fragmented Histories: Edward and Nancy Reddin Kienholz
Edward Kienholz once declared, “I can see the results of ideas in what is thrown away by a culture.” A compulsive bricoleur, he found most of his materials in thrift shops, dumps, and garbage cans and used them in ways that retained their original identity.
Robert Hudson: Sculpture Builder
In a studio piled with industrial scrap, busted-up cast iron plumbing fixtures, fragments of architectural decoration, and kitsch, Robert Hudson builds semi-abstract metal sculptures. He begins without drawings or models, makes a base, welds a support on top of it, and then adds elements by trial and error.
Competition in Common: Art Around New York
The gallery scene in New York, like the large metropolitan entity itself, consists of many diverse neighborhoods, each with its own constituents and concerns. Competitive but not cohesive, the New York art world remains a relatively small, even hermetic community with a common goal of showing and selling art of every type.
The Meat of Sculpture: Paul Thek
One can know quite a bit about American art after 1960 while knowing little or nothing about the work of Paul Thek. Indeed, one can visit many museums with important holdings in modern and contemporary art without chancing upon Thek’s work, and one can digest quite a body of literature on American art before stumbling
