There is no escaping the impact of a fully realized and meticulously executed sculpture by leading New Mexico artist Constance DeJong. Her quintessential black pieces, which she calls her “Four/Three Series,” evoke what might be called a shudder.
John Ruppert: Staging Energy
Back in 1992, John Ruppert was cleaning out his studio and rolling up some chain-link fencing when it got away from him. When he caught it, the loose end fanned out into space. All of a sudden, he realized that this loosely woven material had a structure, and he became interested in its mobilization of
Animal Unrest
Adopting a disturbingly human posture, a hare constricts into a hieroglyph of anguish. Choking and gasping, a jackal succumbs to a muscle-locking spasm. Grimacing in a ghastly blend of snarl and plaintive cry, a disheveled possum peevishly limps away.
Eylem Aladogan: Iron Triggers That Could Be Released
Eylem Aladogan’s large-scale sculptural work recently emerged from the Dutch art world like a moth bursting from its cocoon, finding international exposure at the 12th Istanbul Biennial. Though her smaller work has appeared in Paris, Basel, Munich, Los Angeles, and New York, her major pieces had been exhibited only in Netherlands-based art museums such as
Klara Kristalova: Craft and the Subconscious
A new voice in sculpture, Klara Kristalova shapes subconscious and dark states of being. Her unique personalizations immerse the viewer in human and animal states of mind. She was a baby when her parents fled Czechoslovakia in 1968 and moved to Sweden.
Rene Rietmeyer: Time, Space, and Existence
Rene Rietmeyer creates abstract, three-dimensional wall objects that he calls “Boxes.” These works address his personal existence within time and space. Through formal means such as shape, color, texture, composition, and choice of materials, Rietmeyer visualizes his experiences of a certain region or a specific person encountered at a particular place and time.
Ginny Ruffner’s Seattle Garden
Ginny Ruffner’s role in the early years of the Pilchuck Glass School and inspirational recovery from a severe car accident in 1991 have kept her close to the hearts of many cultural observers in the Pacific Northwest, so, of course, the installation of her new, 27-foot-tall, almost 10,000-pound, mechanized sculpture in downtown Seattle has generated
Gregory Barsamian and the Flying Dream
Gregory Barsamian’s work exists in a profound confrontation with reality. Theatrical in the sense that it takes place in a darkened space before a passively engaged audience, his sculpture relies almost completely on the viewer, because what the viewer sees, seemingly fully present and tangible, is, in fact, not there.
The Karen and Robert Duncan Collection of Contemporary Sculpture
A vaguely anthropomorphic structure of colossal semi-circles, triangles, and projecting masts, Fletcher Benton’s painted steel Balanced/Unbalanced towers above a nearby fence line and stream of passing cars as if beckoning in an amiable gesture of asymmetrical geometry.
Monumental Collaborations: A Conversation with Patricia Leighton and Del Geist
Patricia Leighton and Del Geist, who are married and call New York home, have been making public art for more than 25 and 35 years, respectively. They have developed major site-specific works in the United States, Europe, and most recently, South Korea, where they each created new sculptures for the Jeju Museum of Art, and
