Reviews


Gianni Caravaggio

TURIN, ITALY Galleria Civica d’Arte Moderna e Contemporanea di Torino “Seed,” as image and word, is just one metaphor in a show where metaphors proliferate. In this way, Caravaggio addresses complex phenomenological, cognitive, and artistic concepts with paradoxical lightness and simplicity.

Read More


El Anatsui

LONDON Tate Modern Long before being commissioned for Turbine Hall, El Anatsui knew the Tate name. When he was growing up in Ghana (formerly known as Gold Coast, a British Crown colony until 1957), the only cube sugar available was supplied by the London-based conglomerate, Tate and Lyle.

Read More


Madeline Hollander

NEW YORK Bortolami Rather than trading on Deleuzian idioms and hackneyed “rhizomatic” platitudes—which, even if applicable, merely describe the ubiquity of synthetic processes, having little to do with sculpture’s necessary domain of optical perception—Hollander’s work homes in on the relations of linked relata.

Read More


Nicolò Masiero Sgrinzatto

COMO, ITALY Galleria Ramo A generous maker, Sgrinzatto allows the viewer’s imagination to move ahead of his personal intentions. It is, for instance, unlikely that he ever planned to destroy his creations. Instead, he appears to stress the latency of transformation, so that the speculative dimension contributes narrative tension to overt formality.

Read More


Erwin Wurm

WEST BRETTON, WAKEFIELD, U.K. Yorkshire Sculpture Park In Wurm’s practice, the distortion and disruption of familiar objects can be seen to alter orthodox notions of reality, offering alternative readings with regard to the material objects and spaces that define humankind.

Read More


Rosemarie Castoro

LLANDUDNO, WALES Mostyn A line of aluminum tape runs across the floor, walls, and ceiling of the space, dividing it in two. Castoro began to make these spatially delimiting pieces after she created a similar line, or crack, to demarcate work and living space in her New York loft.

Read More


Natalie Ball

NEW YORK Whitney Museum Upending conventional practice, Ball’s seemingly random, unrestrained arrangements and innovative techniques overlay materials and references to childhood and assimilation with Indigenous customs and rituals to present a doubled vision that resists and critiques dominant white culture.

Read More