Andi Steele’s Emanate, an ephemeral installation of taut monofilament lines, transformed space into shimmering reflections and hovering shadows. Carol Prusa’s “Liminal Worlds,” a group of highly detailed acrylic hemispheres that clung tightly to the walls, also asserted an influence on their surroundings, though their effect was more subtle.
“ Imminence,” a joint exhibition of work by Ana England and Steven Finke, dealt with those certainties we spend much of our lives hoping are not imminent. The resulting work contemplated the beauty inherent in the cycle of life and death.
Something mysterious, cosmic, and deep radiates from Emil Lukas’s thread compositions. At times, these works (as large as 78 by 96 inches) appear to be flat. From a distance, they have auras—as though we are witnessing space in slow motion and seeing into and through vast distances.
Lorrie Fredette, a leading installation artist and sculptor working in the Hudson Valley, is down with disease—or, at least, its representation. Her recent site-specific installation Implementation of Adaptation consists of a structured, mosquito egg-like raft of wax-made pandemics, abstracted, microbial, moist, and poised for dissemination.
The usual downside of minimal art is that, after the initial impact, there’s very little to hold one’s visual attention. Michio Ihara confounds that flaw. Though his work appears simple and disciplined—and minimal—even his static pieces offer a great deal to engage the eye and the intellect.
River of Fundament: Khu, 2014. Production still Matthew Barney is a prolific sculptor. Known for his Cremaster Cycle and “Drawing Restraint” series, he has been taking materials and processes into unknown territories for more than 25 years.
Toronto Gardiner Museum Objects accrue cultural value like pearls accrue nacre—slowly, through layerings of meaning and time. The works in An Te Liu’s exhibition “Mono No Ma” (mono meaning thing and ma meaning space or gap) explore the act of imbuing superfluous objects—Styrofoam packing materials and casings—with value.
New York David Zwirner Gallery “Richard Serra: Early Work” focused on the first five years of the artist’s sculptural output, from the moment when he began working with found industrial materials (1966) to the completion of his first corpus of works, the monumental propped steel plates (1969–71) that later brought him international renown.
New York Galerie Perrotin One might dismiss Paola Pivi’s recent exhibition as a simple, meaningless, and goofy display, but its materiality alone raises such a surfeit of issues and interpretations that it far exceeds the one-liner modus operandi of much conceptual art.
New York David Zwirner The exquisite polish of paint on John McCracken’s simple slabs and other minimal sculptures has the ability to transform three-dimensional art into surfaces that relate as much to painting as they do to objects in this world.