WEST BRETTON, WAKEFIELD, U.K. Yorkshire Sculpture Park For Indiana, numbers were autobiographical, and he related key moments in his life to specific digits, painted in symbolically resonant colors.
Marc D’Estout
SAN FRANCISCO Jack Fischer Gallery D’Estout is an incredibly patient, old-school kind of sculptor, employing a slew of mad skills to fabricate, manipulate, and orchestrate his materials into shapes that imply rather than declare their points of reference.
Roxanne Jackson
NEW YORK The Hole By asking how we can reclaim monstrosity, Jackson’s work becomes an explosive combination of Grand Guignol, Jungian philosophy, and the poetry of Carmen Giménez Smith, extracting and exploiting the tissues that bind the sexual and the grotesque.
Yinka Shonibare
GRAND RAPIDS, MICHIGAN Frederik Meijer Gardens and Sculpture Park Shonibare’s works are freighted with fierce contradictions, much like the 18th- and 19th-century European eras from which he derives his inspiration.
Jonathan Latiano
BOSTON Boston Sculptors Gallery Love to the Letter and the Letters Spelled Death is incisive and poetic. Clearly, Latiano’s passion and ruminations on “deep time,” from prehistory into the future, are driving elements.
Abbas Akhavan
ISLE OF BUTE, SCOTLAND Mount Stuart In a sandstone crypt, deep beneath the ornate Marble Chapel, Akhavan has cultivated a self-sustaining, closed-system garden consisting of plants and reclaimed materials gathered on the estate.
Arthur Simms
NEW YORK Martos Gallery Simms’s repetitive binding brings to mind the work of Jackie Winsor and Eva Hesse, and he shares with them an embrace of process and industrial materials.
Céline Condorelli
EDINBURGH Talbot Rice Gallery, University of Edinburgh Before becoming an artist, Condorelli studied architecture. Here, she draws on the work of several Modernist architects, including the postwar playgrounds of Aldo van Eyck in Amsterdam and Lina Bo Bardi’s buildings in Brazil.
Stefana McClure
NEW YORK Bienvenu Steinberg & Partner Every object in Stefana McClure’s recent exhibition, “I See You Seeing Me (Meeting the Female Gaze),” projected thoughts staring back at the viewer, turning printed texts that we all should know (but mostly don’t) into knitted and otherwise reconstructed sculptures.
