CAMDEN, NEW JERSEY Stedman Gallery, Rutgers University-Camden Presented as a living work, the exhibition has been continually unfolding and morphing throughout its three-month run, merging old works with new and much in between.
Gillian Lowndes
BATH, U.K. The Holburne Museum Lowndes, who died in 2010, trained in ceramics, attending the Central School of Arts and Crafts in London from 1955 to 1958, at a time when experimentation was at a peak. Both teachers and students were at the heart of that movement for change, and the Central School was a crucible for the new, the inventive, and the downright strange.
Diane Simpson
NEW YORK James Cohan Essentially collagraph plates that were too large for the printing press, the “Constructed Paintings” are axonometric renderings that embrace the idea of depth without illusion.
Gianni Caravaggio
TURIN, ITALY Galleria Civica d’Arte Moderna e Contemporanea di Torino “Seed,” as image and word, is just one metaphor in a show where metaphors proliferate. In this way, Caravaggio addresses complex phenomenological, cognitive, and artistic concepts with paradoxical lightness and simplicity.
El Anatsui
LONDON Tate Modern Long before being commissioned for Turbine Hall, El Anatsui knew the Tate name. When he was growing up in Ghana (formerly known as Gold Coast, a British Crown colony until 1957), the only cube sugar available was supplied by the London-based conglomerate, Tate and Lyle.
Madeline Hollander
NEW YORK Bortolami Rather than trading on Deleuzian idioms and hackneyed “rhizomatic” platitudes—which, even if applicable, merely describe the ubiquity of synthetic processes, having little to do with sculpture’s necessary domain of optical perception—Hollander’s work homes in on the relations of linked relata.
Nicolò Masiero Sgrinzatto
COMO, ITALY Galleria Ramo A generous maker, Sgrinzatto allows the viewer’s imagination to move ahead of his personal intentions. It is, for instance, unlikely that he ever planned to destroy his creations. Instead, he appears to stress the latency of transformation, so that the speculative dimension contributes narrative tension to overt formality.
Erwin Wurm
WEST BRETTON, WAKEFIELD, U.K. Yorkshire Sculpture Park In Wurm’s practice, the distortion and disruption of familiar objects can be seen to alter orthodox notions of reality, offering alternative readings with regard to the material objects and spaces that define humankind.
Rosemarie Castoro
LLANDUDNO, WALES Mostyn A line of aluminum tape runs across the floor, walls, and ceiling of the space, dividing it in two. Castoro began to make these spatially delimiting pieces after she created a similar line, or crack, to demarcate work and living space in her New York loft.
Maximilian Goldfarb
BUFFALO, NEW YORK The Buffalo Institute for Contemporary Art Each of Goldfarb’s works marked an attempt to depict or reproduce an actual instrument of violence. When I realized that, a shiver crept up my neck—I was looking at an autopsy.
