London The Hayward Gallery The problem with group shows is that the curator is powerfully present, and when a show attempts a survey or argument, it is hard not to be distracted by potential omissions or possible flaws.
Lorne, Australia 2014 Lorne Sculpture Biennale In Elizabeth Presa’s installations, active beehives function as small architectural objects that address dwelling-in and shelter. Her deeply process-oriented practice equates materials with political and spiritual value to re-imbue plaster, glass, wax, fabric, flour, paper, thread, bees, and snails with a significance either forgotten or overlooked in the mad
New York Hauser & Wirth Anna Maria Maiolino’s work stands out for its elegant aesthetic and gutsy use of homespun processes and materials. Born in Calabria, Italy, Maiolino grew up in Venezuela and Brazil. She and her husband Rubens Gerchman were among the original members of the New Objectivism Brazil movement (Nova Objetividade Brasileira), which
New York Museum of Modern Art Isa Genzken’s recent retrospective, featuring a complex mixture of things with resonating presence, provided a 180-degree exodus from participatory art and its aim of eliminating the artist. While Genzken’s work is neither imposing nor necessarily spectacular, it is very contemporary.
Atlanta Whitespace Gallery Personal but at the same time universal, Amy Pleasant’s exhibition “re / form” was conceived with the Whitespace Gallery in mind. The two rooms of this converted coach house retain vestiges of their history—herringbone brick floors, a few words scribbled years ago on the wooden walls.
Boston deCordova Sculpture Park and Museum Conflate the styles of Henry Moore, Jean Arp, and Dr. Seuss, stir in California slickness and cartoon colors, and you get Roberley Bell’s The Shape of the Afternoon, which occupied the deCordova’s rooftop with a visionary garden.
Seattle Henry Art Gallery, University of Washington In an important North American debut, German artist Katinka Bock created seven new works for the Henry Art Gallery at the University of Washington, while deputy director Luis Croquer selected six additional pieces dating from 2008 to the present.
Berlin Krome Gallery The two objects in Michael Hakimi’s recent exhibition—works that oscillate somewhere between photography and sculpture—sat apart at the front and rear of the gallery. This situation alluded to a third, missing sculpture that ghosted the other two and broke apart the stillness of the space.
Frankfurt Städel Museum “Erwin Wurm: One Minute Sculptures,” curated by Martin Engler, head of the Städel Museum’s contemporary art collection, consisted of a survey of older works and new works created specifically for the Städel collection.
Vancouver Vancouver Art Gallery Douglas Coupland’s first solo museum show, “everywhere is anywhere is anything is everything,” took viewers through a sprawling cultural foray into today’s schizoid society. Coupland’s early schooling included a diploma in sculpture, and this influence is felt throughout the show.