Jaewook Lee’s work deals with the perceptions and theories that define our sense of place, humanity, and nature. Consisting of video, installation, and performance, his practice assumes that all relationships in space are sculptural, hence form, weight, volume, scale, and negative space create material extensions and possibilities of physical and sensorial space.
Arnaldo Morales: What Humans Do
Arnaldo Morales’s studio is a machinists dream come true. Points of pride are a 1977 variable speed Bridgeport milling machine, a 1966 Logan lathe, and not just a Clausing table saw, but also a Delta Rockwell horizontal band saw.
Uncertain States: A Conversation with Bharti Kher
If science is determined by a body of facts, then art is closer to fiction, moving between states of certainty and uncertainty in order to create visual parables of our lives as they are now, and are likely to be in the future.
Real Consequences: A Conversation with Tania Bruguera
In October 2016, at the Creative Time Summit in Washington, DC, Tania Bruguera, whose projects merge social reality, culture, and politics, announced her candidacy for president of Cuba in the 2018 election. She encourages others to follow her example—to speak up and empower themselves—because the clock is ticking on free speech around the world, as
“From Space to Field”
HOUSTON The Silos at Sawyer Yards The Silos at Sawyer Yards are slightly eerie. More than 30 vertical cylinders reach 80 feet into the yawning blackness of the warehouse’s ceiling. Scarred floors and walls speak to former industry, but the building manages to combine inhuman vastness with the more intimate scale of the individual silos. The honeycomb arrangement of the soaring tubes leaves the casual viewer slightly disoriented. In other words, the “white cube” model of an art space could not be further from Houston’s newest arts venue.
Ruth Beer
ABBOTSFORD, BRITISH COLUMBIA, CANADA The Reach Gallery Museum Abbotsford Ruth Beer’s recent exhibition, “States of Matter,” presented a suite of works that are beautiful in their materiality while portraying a sobering subject matter. The show arose from research that Beer had been conducting on the proposed Northern Gateway Pipeline, which would carry raw bitumen from the tar sands in Northern Alberta across Northwestern British Columbia to the coast.
Fred Sandback
NEW YORK David Zwirner The Minimalist work of Fred Sand – back does not cease to amaze, with its elegant simplicity and radical transformation of line into sculpture. Especially when presented in complex installations such as this one, the poetic depth and large range of this unique oeuvre begins to shine. “Vertical Constructions” re-created and expanded on Sandback’s landmark 1987 exhibition at the West – fälischer Kunstverein in Münster, Germany, which featured six thennew works, each one engaging the vertical space.
Barbara King
NEW YORK Narthex Gallery, St. Peter’s Church Barbara King’s recent exhibition, “Ribbon Meditations,” was shown in the narthex of St. Peter’s Church in Midtown Manhattan. For over 50 years, the church, which is committed to creatively shaping the life of the city and its community, has served immigrants, the homeless— people of every race, ethnicity, and language, at every economic level, and at every point of the gender spectrum. The arts play a vital part in living out this mission. The church commissions and installs permanent and temporary art, using it to spark public conversation and dialogue.
Sarah Sze
WALTHAM, MASSACHUSETTS Rose Art Museum Sarah Sze is known for her complicated, sprawling sculptures, accumulations of small quotidian things that add up to enigmatic and overwhelming impressions. The meaning of her works is often subsidiary to the simple, ungraspable, in-yourface complexity of each piece. In Timekeeper (2016), her multifarious accretion became smaller and more unified than in many of her previous works. Improbably, instead of building the work out to the edges of all three sculptural dimensions, she managed to add the fourth dimension.
Caoimhghin Ó Fraithile
BOSTON The Back Bay Fens Caoimhghin Ó Fraithile’s remarkable floating sculpture, placed in the Fens some 400 yards from the Museum of Fine Arts, Boston, celebrates the 100th anniversary of the 1916 Easter Rising, which eventually led to independence for Ireland. The artist is known for his sculptural installations, particularly in Japan, where he regularly works with local people to construct environments in the town of Fukui, near the city of Niigata.
