PRATO, ITALY Centro per l’arte contemporanea Luigi Pecci Massimo Bartolini explores sculpture in a field so expanded that he looks beyond form. An alternative point of view to the familiar is typical of his approach, and in the case of sculpture, that alternative is to make an object into an event, a stage where metamorphosis from one state to another is followed and expectations shifted.
PHILADELPHIA Fabric Workshop and Museum By stacking, binding, and juxtaposing an assortment of formal elements to configure new images and meanings out of the familiar, Taylor coalesces the seemingly disparate objects making up this installation/exhibition into an itinerary of interrelated allusions.
NEW YORK New Museum Osorio’s politically engaged trompe-l’oeil environments hit the nail squarely on the head. They remind us of the importance of things as vessels for memories, sentiments, and ideals.
PORTLAND, MAINE Institute of Contemporary Art at Maine College of Art & Design One particular resonance of carving, which is especially evident in Nash’s project, is that it parallels geologic processes like erosion, by wind and water, on both vast and near-instant timescales.
SINGAPORE Singapore Art Museum For Lee, abstract painting has long been more than a means to experiment with form and color on a flat surface. Rather than creating images or pictures, she stages her works as sensuous, spatial objects that bring surrounding architecture to life.
PHILADELPHIA Barnes Foundation Brendan Fernandes’s Returning to Before, commissioned by the Barnes Foundation in response to the exhibition “William Edmondson: A Monumental Vision,” proposes that gesture can reach back through time and connect us with the past.
NEW YORK New Museum Lee’s interest in carnage, eroticism, the abject, and intuitive creative interventions is in line with Surrealist practice; while her biomorphic forms, sinuous lines, and painterliness constitute a response to Abstract Expressionism.