Edgar Arceneaux’s concerns link studio practice and work in public space. He uses the persona of the artist, an identity that transcends race or agency, as “a transfigurative subject” within his work. His desire to monitor how his work is received becomes complicit with his idea of what it means to present himself as an
LAND of Opportunity
It all began by thinking outside of the institutional box. In January 2009, LAND—the Los Angeles Nomadic Division—premiered its inaugural set of curated artist activities at four sites across L.A. and emerged as the city’s most ambitions public art initiative in recent history.
Federico Díaz: Post-Human Sculpture
It looks like a giant black tsunami crashing headlong into the wall of the building. Does this mean that the creator of said wave, Federico Díaz, has something against the Massachusetts Museum of Contemporary Art? His response to this question, like many others, isn’t a simple “yes” or “no.”
Art as Monster: A Conversation with Allora & Calzadilla
Over the past 15 years, Allora & Calzadilla (the artist team of Jennifer Allora and Guillermo Calzadilla) have produced an interdisciplinary body of work known for its distinct blend of art, poetry, and socio-political critique. Playful farce and social interaction underlie their installations, videos, performances, works in public space, photographs, and collages.
Jeanne Silverthorne: New Life in the Ruins of the Artist’s Studio
I knew that I wanted to learn more about Jeanne Silverthorne’s work when I saw one of her tiny rubber figures sitting on a tall pedestal in the McKee Gallery booth at the ADAA Fair about two years ago.
Daniel Canogar: Media Brainstorms
In the installations of Spanish artist Daniel Canogar, electronic media work in concert with sculpture to create hypnotic and mesmerizing environments from abandoned technologies. Throughout Canogar’s work, there is an impulse to keep the “human” presence alive.
Diane Landry: The Clutter of All Things
The world knows many rhythms. From the Earth’s orbit around the sun, which gives us the cycle of seasons, to the planet’s rotation, which creates the periodicity of day and night, down to the very beating of our hearts and the systolic and diastolic movements of blood through our bodies, existence is all about the
Marc Leuthold: Cosmic Clay
“Marc Leuthold: Sculpture 1995–2010,” an impressive mid-career retrospective of works by the New York-based ceramicist at the Daum Museum of Contemporary Art in Sedalia, Missouri, also included a major new installation. Offering crystallizes the formal and thematic concerns present in all of Leuthold’s work and continues his ongoing challenge to the traditions and assumptions that
August Ventimiglia: Sculpting the Line
August Ventimiglia’s works on paper, in three dimensions, and directly on walls are based in the historical precedents of Minimalism (thoroughly digested and re-thought) and process art (rationalized and systemized). His tools come from the building trades—sandpaper, chalk, straight edge, plumb line—and with these humble items, he makes works in which the arbitrary is subsumed
Facing the Void: A Conversation with Toshikatsu Endo
Toshikatsu Endo’s sculptures confront ancient times and urges. With materials such as bones, wood, water, and fire, they become primal devices leading back to the essence of human existence. For Endo, art is a special field that oscillates between linguistic and non-linguistic tendencies, that can use construction and destruction to go beyond the limits of
