Edith Karlson, who will represent Estonia at this year’s Venice Biennale, belongs to a generation of Estonian sculptors who, throughout the past two decades, have broken from the monumental austerity that enmeshed the medium for much of the previous century, when it was inevitably employed to propagate the ideology of the Soviet state apparatus.
Margery Amdur
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.
Geometría infinita: Una Conversación con Valeria Seoane
Con el norte puesto en la exploración de la geometría mediante materialidades diversas, la artista visual y diseñadora gráfica Valeria Seoane, se vale de las técnicas mixtas, el collage, la pintura y el dibujo para transitar su búsqueda.
From the Outside: A Conversation with Shiro Masuyama
The practice of Shiro Masuyama, a Japanese artist currently living in Northern Ireland, is eclectic, ranging from installation, film, sculpture, and photography to performance. He uses these tools to create socially engaged art that often veers into the directly political.
Love, Hope, and Socialism: A Conversation with Camiel Van Breedam
Belgian artist Camiel Van Breedam launched his career in the late 1950s, when peinture informelle (abstract gestural painting) was still going strong. At an early stage, he made the leap from abstract geometric painting, with an emphasis on matter, to assemblage sculpture and collage—works, both formalist and historicizing, made from ordinary laborer’s tools and the remnants of shuttered factories, and often fraught with meaning.
Going Public
Public art has undergone epochal shifts over the past half century, as Joyce Pomeroy Schwartz tells (and shows) us in The Private Eye in Public Art. A memoir and informative survey (but not a history, she says), the book demonstrates that she was in the thick of things from the 1970s onward.
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.
Grenville Davey: Duality Paradoxes
“People are not naïve in the way that they approach objects,” Grenville Davey told British cultural critic Tim Marlow in 1993, “but there are other possibilities, however oblique.” Davey’s sculpture deals with those “other possibilities,” particularly the place of the human within the physical world as material fact.
Object Lessons: Elizabeth Atterbury
Folding Fan is based on a fan that belonged to my maternal grandmother, Lily Lung-Yi Liu Wang. I have no memory of her using it, nor can I recall when I pulled it out of a box, hung it on my studio wall, and started thinking about it as a form.
