Holly Zausner

New York Caren Golden The body has always been Holly Zausner’s tool. ln her exhibitions of the last few years, this midcareer sculptor created an effigy of herself, a mutable logo, a meditative, comic, elongated Gumby figure… for the full review see the print edition of May 1999’s Sculpture magazine.

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Dispatch: Hearing the Noise: Revolution

Liverpool International Symposium on Electronic Art (isea98) Luke Jerram, Retinal Memory Volume, 1997. View of installation. Liverpool and Manchester, the cradles of the Industrial Revolution, experienced yet another upheaval last fall, the Ninth International Symposium on Electronic Art.

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David Nash

New York Galerie Lelong ln 1968, at the age at 22 and shortly after finishing art school in London, David Nash bought a chapel and attached schoolhouse in Blaenau Ffestiniog, North Wales… see the full review in the print edition of May 1999’s Sculpture magazine.

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Brent Crothers

Baltimore Galerie Francoise, E.S.F. Brent Crothers’s recent show heralded new ways of expressing his love of wood by combining the material with copper, aluminum, and rubber… for the full review see the print edition of May 1999’s Sculpture magazine.

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John Chamberlain

New York Pace Wildenstein Since he made his mark on the art world in the late ’50s, John Chamberlain has remained an eminently ingenious artist… for the full review see the print edition of May 1999’s Sculpture magazine.

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Fabrizio Plessi

San Diego Museum of Contemporary Art One of Europe’s foremost video artists, Fabrizio Plessi, who came to prominence in Italy during the 1970s, presented five large-scale installations in an exhibition that premiered at the Guggenheim Museum SoHo in June 1998 and traveled to San Diego in November… see the print edition in May 1999’s Sculpture

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Jacques Lipchitz

Paris, France Gardens of the Palais Royal Only the French would have the sheer effrontery and style to mount a large-scale exhibition by a key 20th-century sculptor in the elegant surroundings of the Palais Royal gardens… for the full review see the print edition of May 1999’s Sculpture magazine.

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Monica Weiss

Atlanta Space 1181 Monika Weiss’s installation Koinan is intended to reverse a legend of the saints both conceptually and in terms of gender. The installation (the title of which alludes to burial and decomposition) consists of an octagonal concrete basin shaped like an early Christian baptismal font.

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