The two artists collectively known as Guerra de la Paz both began their careers as painters. Known today as sculptors who also create installations, they still maintain a connection with their history. While form and composition are important elements of their pieces, color takes precedence above all else.
Subtle Power: Alfredo Jaar’s Recent Installations and Permanent Public Interventions
Alfredo Jaar’s body of work continues to be widely discussed in terms of the theory and politics of images. He often critiques the use and ownership of well-known photographs and raises topics largely ignored by the media.
Isa Genzken: Balancing Beauty and Brutality
Mannequins in thrift-store finery, backsides blackened with spray paint, are propped in an overturned warehouse trolley. Another mannequin lies on its back, hands in plastic mitts, neck strangled with a cheap tie, and face smothered by an overturned vase strapped in place with gingham ribbons.
Raquel Rabinovich: Fluid Equilibrium
Raquel Rabinovich, an Argentine-born artist who has lived and worked in New York and the Hudson River Valley for several years, is possessed by a kind of fluidity associated with Borges—a writer to whom many contemporary Argentine artists have been compared—as well as with the pragmatic Enlightenment philosopher John Locke.
John Grade: Anticipating and Letting Go
John Grade’s spring show at Cynthia-Reeves Gallery gave a good sense of the scope of his thinking, especially following his introduction to New York audiences a few weeks earlier, when he won the $10,000 Willard L.
Forms Behaving in Time: A Conversation with David Nash
Immersed in the sensibilities of wood, David Nash has a highly developed understanding of the complexities underlying tree growth. His longstanding base at Capel Rhiw in Blaenau Ffestiniog, north Wales, provides the launch pad for his projects, many of which take him across the globe.
Draping and Shaping Wood: A Conversation with Ursula von Rydingsvard
Ursula von Rydingsvard’s recent and upcoming exhibitions—commissions for the North Carolina Museum of Art and Storm King Art Center, large new work at New York’s Galerie LeLong, and a 35-year retrospective at the SculptureCenter in 2011—demonstrate that her new work writhes, twists, leaps, and otherwise moves in ways that wood has never moved before.
Whatever It Takes To Get It Made: A Conversation with Orly Genger
For “Material World,” a group exhibition at MASS MoCA exploring how artists can create extraordinary environments out of ordinary things, Orly Genger knotted, stacked, and painted 100 miles of lobster rope to form a monumental sculpture that bursts through the architecture and falls into riotous spills with all the intensity of a parted red sea.
Danville Chadbourne: The Suspension of Age
Fusing Modernism with elements of tribal art, San Antonio artist Danville Chadbourne has created a vast, sprawling world of work that uses simple organic shapes to evoke psychological and spiritual states. His serene sculptures resemble the relics and totems of a lost or unknown civilization, combining a modern aesthetic with primitive materials, mostly clay, wood,
Mária Lugossy: From Public to Private
Since the fall of communism in Hungary in 1989, Mária Lugossy has been at the forefront of a public art revolution. Discriminated against because she would not join the Communist Party, she flouted pre-1989 authority with glass, bronze, and stone sculptures that treated proto-feminist themes such as the origins of life, conception, and birth, as
