John Van Alstine: Sculpture 1971–2018, heavy and beautiful as a coffee table book, is much more than that. It is a tribute to John Van Alstine’s long career, spanning decades of work in which his sculptures have interpreted urban and pastoral influences, with a nod to the massive undertakings of Land artists such as Robert Smithson and Michael Heizer.
Thinking the Sculpture Garden: Art, Plant, Landscape offers a radical rethink of how we might interact harmoniously with plants and art in an age of globalization, climate change, and urbanization.
Reading Unfold This Moment, the Berlin-based critic Martin Herbert’s compact history of Carol Bove’s two-decade career, it struck me that I’ve seen a lot more of Bove’s work first-hand than I’d perhaps realized.
Sculpture portable enough to fit in the palm of your hand, inside a pocket, or tucked into a wallet can also be invested with enough narrative power to tell an epic story. The newly published catalogue, The Scher Collection of Commemorative Medals, proves that sculpture the size of a silver dollar can assume the presence of something monumental.
Robert Murray says that after he arrived in New York as a young man in 1960, “I forgot to go home.” It’s a good thing he didn’t return to his native Saskatoon, for he would likely not have begun to produce the sculptures for which he is now forever known.