LONDON Thomas Dane Beyond the straightforward binaries of masculine and feminine though, there is something Cyborgian, in a Donna Haraway sort of fashion, about Benglis’s tentacle-like mirrored floor sculptures, which one can imagine having been spawned from the severing of some monstrous creature, their puckered ends curling upward like truncated limbs.
Arthur Simms
LOS ANGELES Karma Improvisatory and yet obsessive, Arthur Simms’s sculptures manifest the intensity of his process. His work is provocative, compelling, hard to look at—and at least part of its power comes from his drive to make such fierce, volatile, and demanding objects.
Mike Nelson
LONDON Hayward Gallery An extraordinary feat of planning and labor, the exhibition, which covers 25 years, encompasses around 20 interconnected rooms and corridors, involving 40 tons of sand, 5,000 feet of reclaimed timber, and the skills of more than 30 builders and technicians.
Shari Mendelson
HUDSON, NEW YORK Pamela Salisbury Gallery Ancient, quasi-mystical artifacts—those once lively objects from the distant past that have survived—come to us as unknowable, fundamentally opaque, and foreign, displayed in the highly charged confines of museums.
Will Cruickshank
EXETER, ENGLAND Exeter Phoenix For Cruickshank, the particular qualities of spun yarn—its durability, tenacity, flexibility, softness, resilience, and color-bearing—become the prime concern, manipulated by the idiosyncrasies of makeshift technology.
Maria Bartuszová
LONDON Tate Modern This exhibition marks the first major show in the U.K. of works by the extraordinary Slovak artist Maria Bartuszová (1936–96), whose abstract plaster sculptures are replete with organic forms both fragile and solid, sometimes tortured and always corporeal.
David Baskin
NEW YORK Freight+Volume The work imparts a futuristic, retro, popsicle feel, like standing signage in an alien script from a corny, camp version of the 1960s cartoon show “The Jetsons.”
Rose B. Simpson
NEW YORK Jack Shainman Gallery Simpson’s figures are arranged toward each other; entering their presence feels like interrupting a conversation between old friends. Most of the exhibition’s dozen sculptures are life-size or larger, which adds to the sense of stepping through or meeting their gaze.
David Mach
LONDON Pangolin David Mach made a dramatic entry into the world of public art in 1983, when he used 6,000 car tires to construct a life-size replica of a Polaris submarine on the South Bank of the River Thames, near London’s Royal Festival Hall.
Henry Jackson-Spieker
SEATTLE MadArt Jackson-Spieker creates visual blind spots and distortions that he hopes act as a metaphor for the things we don’t see or question in our everyday surroundings.
